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House     &     (J  ar  d  e  n    s 


A     STUDY     IN     PLEASING     HA  LANCE 


i  found  in  iin  library  of  the  residence  <>/  Mr.  Egerton 
l  Winlhrop,  m  Syo  <i,  l  I  Tin  room  I  decorated  m  the  spirit  o)  the  French  L8/A  Century 
i  d  panel        Ibovt    them  are  two  delightful  paintings  by  Albert 

ih,    Wall,  >         I    pai*   "I     mull   <  niiiiiini/i;    -until    Chinrsr   lumps   mill    similes 

,ih  i    and  i  "in i'h  ii   a  perfect  arrangement  against   the  gray  paneled 
dkI   iht    cherry-colored   taffeta   draped  curtain       Delano   6     Udrich    were    the   architects 


Book     of     Interior  s 


HOUSE  &  GARDEN'S 

BOOK  of  INTERIORS 

Containing   over   Three   Hundred   Illustrations   of  Living   Rooms, 
Dining    Rooms,    Libraries,    Halls,    Bedrooms,    Porches,    Breakfast 
Rooms,  Nurseries,  Kitchens,  Bathrooms  and  the  Use  of  Decorative 
Accessories  and  Curtains,  Together  with  Practical  Suggestions  for 
the  Furnishing  and  Decorating  of  Each  Type  of  Room  in  the  House 

Edited  by 

RICHARDSON  WRIGHT 

Editor  of  House  &  Garden 

1920 

NEW  YORK 

CONDE  NAST  &  COMPANY 

//  o  u  s  e     &     G  ar den' $ 


"The 

HOUSE  &  GARDEN 

BOOKS 

ft 

House  &  Garden's 

Book  of  Houses 

ft 

House  &  Garden's 

Book  of  Interiors 

ft 

House  &  Garden's 

Book  of  Gardens 

ft 

Copyright  April  1920  by 

Conde  Nast  &  Co. 

ft 

Book     of     Interior s 


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CONTENTS 


A  Study  in  Pleasing  Balance Delano  &  Aldrich,  Architects 

The  Background  of  the  Room Schmitt  Bros.,  Decorators 

Making  the  Living  Room  Livable 

An  Adam  Room  in  America Elsie  de  Wolfe,  Decorator 

Planning  for  the  Furniture Fisher,  Ripley  &  Le  Boutellier,  Architects 

The  Library   with  Personality 

The  Architectural  Bookcase Delano  &  Aldrich,  Architects 

The  Paneled  Wall  in  the  Dining  Room 

Elegance  in  the  Dining  Room 

Cupboards  for  the  Corner 

Substitutes  for  Sideboards G.  Bovard  MacBride'',  Decorator 

A  Colorful  Hall  Group Agnes  Foster  Wright,  Decorator 

Hospitality  and  the  Entrance  Hall 

Furniture  for  the  Long  Hall Lewis  Colt  Albro,  Architect' 

Hall   Treatments : . . . .  Delano  &  Aldrich,  Architects ■■ 

The  Intimate  Bedroom ,. .  .*. 

Porches  the  Year  Round 

The  Window  in  Decorative  Composition Little  &  Brown,  Architects ....'.  .0 

Adapting  the  Accessory Nancy   Ashton 

Fireplace  Mantel  Decorations 

Grouping   Antiques 

Console  Groupings Lee  Porter,  Decorator 

Overdoor   Decorations 

Couch-End  Tables,  Stools  and  Lamps 

How  to  Make  Your  Own  Curtains Agnes  Foster  Wright,  Decorator 

Solving  the  Curtain  Problem 

A  Portfolio  of  Miscellaneous  Interiors 

The  Great  Hall  in  an  American  House John  Russell  Pope,  Architect 

The  Motif  of  a  Room Frederick  Sterner,  Architect 

A  Louis  Seize  Breakfast  Room Mrs.  Edgar  de  Wolfe,  Decorator 

Planning  the  Playroom 

A  Modern  Bathroom Mrs.  A.  Van  R.  Barnewall,  Decorator , , 

Hang  Up  Pots  and  Pans  so  You  Can  Reach  Them .-.= 

The  Salient  Points  of  the  Modern  Kitchen 

Addresses  of  Architects  and  Decorators 


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House     &     Garden's 


I  1 1  E    B  A  CKtJROUNJ)    of    the    roo  m 


i  architectural  bad  '.round,  ■  peciati     i)  it  ha    behind  it  the  tradition  oj  the  antique, 

pet  ection  in  the  detail  oj  everything  placed  in  proximity  to  it,      in  example  oj   this  is 

U  in     room   oj   the   home   of   Mn     William    A     Vanderbilt    on    Long   Island.     The 

paneling,  which  i    Jacobean  oak,  wa    brought  from  an  old  house  in  Kent,     The  ceiling,  which  is 

troduci    exactl    thi  original     The  furniture  is  all  antique.    The  rug  is  a  [6th  Century 

en  and  rosi      Valana    an  oj  Jacobean  embroidery  in  vermilion  and  blue  with 

let  i  kite  taffeta  draperie    beneath.    Stimuli  Brothers,  decorators 


Book     of     Interiors 


MAKING      THE      LIVING     ROOM      LIVABLE 


By  a  Proper  Arrangement  oj  Furniture  and  the  Judicious  Use  of  Color  and  Design  in  Other 
Decorations  It  Becomes  a  Friendly  Place  for  the  Family  and  Its  Guests 


THE  living  room  is  a  friendly  part  of  the 
house.  Usually  on  the  first  floor,  in 
close  proximity  to  the  hall  or  reception 
room,  it  is  a  place  where  hospitality  is  first  ex- 
tended and  the  family  gathers  together.  Con- 
sequently, its  decoration  and  furnishing  should 
serve  this  double  purpose — slightly  formal  to 
meet  the  guest,  and  sufficiently  informal  to  suit 
the  comforts  of  the  family. 

These  definitions  have  to  be  understood  if 
one  wishes  the  rooms  of  her  house  to  have  the 
distinction  of  individuality.  For,  as  each  room 
in  the  house  serves  a  different  purpose,  so 
should   each   be   furnished   distinctively. 

The  living  room  is  often  a  repetition  in- 
side the  house  of  the  exterior  architecture.  As 
the  saying  goes,  "the  architecture  comes 
through  the  walls."  The  living  room  of  a  Colo- 
nial type  of  house  had  best  be  furnished  in 
Colonial  spirit,  a  Georgian  house  can  have  a 
living  room  in  the  style  of  this  later  period. 
One  expects  English  oak  in  the  living  room  of 
a  house  that  has  an  English  half-timber  ex- 
terior. The  same  is  true  of  Italian  and  French. 
The  architecture  sets  the  keynote  for  the  living 
room.  Coming  from  the  outside  into  this  room, 
one  finds  the  harmony  pleasant  and  livable. 

But  for  all  its  touches  of  formality,  the  liv- 
ing room  should  be  livable.  That  is  a  first 
requisite.  And  livableness  is  not  so  much  a 
matter  of  the  furniture  used  as  the  manner  in 
which  it  is  used.  Livableness  depends  on 
grouping  furniture  properly  so  that  it  is  com- 
fortable and  convenient.  It  can  be  further 
assisted  by  the  ju- 
dicious use  of  such  x  ...,.,,.,.„...,..„., .... 
accessories  as  lamps, 
pictures,   books,   etc. 


IN  the  average  liv- 
ing room  the  fire- 
pi  ace  is  the  first 
center  of  attention. 
Furniture  should  be 
grouped  about  it 
naturally- — the  way 
m  e  n  naturally  sit 
around  an  open  fire, 
and  have  sat  for  gen- 
erations. A  couch 
may  be  placed  di- 
rectly in  front  of  the 
hearth  with  a  table 
behind  it  holding 
lamps  that  give 
plenty  of  light  for 
reading,  books,  mag- 
azines, and  smoking 
things.  Couch  -  end 
tables  or  stools  will 
complete  the  group. 
Or,  one  may  have 
couches  either  side 
the  hearth  with 
couch-end  tables  to 
hold  the  lamps,  or  a 
floor  lamp.  Small 
stools  or  tables  will 
be  convenient  ad- 
juncts. Or,  again, 
the  group  may  con- 
sist of  two  big  up- 
holstered chairs,  or 
a  chair  on  one  side 


and  a  couch  on  the  other.  The  main  things  re- 
quired for  the  fireplace  group  are  a  comfortable 
chair  to  sit  in,  a  comfortable  couch  to  lie  down 
on,  good  light  to  read  by,  small  tables  handy 
with  things  for  the  men  to  smoke  and  books  for 
them  to  read.  The  formality  or  informality  of 
this  center  will  depend  entirely  upon  the  way 
the  furniture  is  placed.  Its  occupants  will  soon 
find  if  it  is  livable.  If  not,  change  it  about 
until  it  is. 

This  advice  applies  to  the  placing  of  fur- 
niture in  any  room  of  the  house.  Move  it 
around  until  you  find  the  most  pleasing,  com- 
fortable and  useful  positions.  The  occasional 
changes  will  give  the  room  a  new  air,  espe- 
cially if  the  changes  are  made  with  the  seasons. 

It  is  best  to  keep  the  middle  floor  space  of 
the  living  room  open.  The  old  center  table, 
•with  its  reading  lamp  by  which  no  one  could 
read,  has  happily  been  relegated  to  the  mis- 
takes of  the  past.  By  keeping  this  space  free 
of  furniture  the  room  is  given  an  added  sense 
of  size  and  one  can  move  around  in  it  more 
freely.  Moreover,  by  placing  the  furniture 
against  the  wall  it  is  given  a  silhouette  back- 
ground which  will  greatly  enrich  it. 

THERE  may  be  two  other  centers  of  inter- 
est in  the  living  room — a  group  by  one  of 
the  windows  that  gives  a  pleasant  outlook  onto 
the  garden,  and  an  informal  corner  where  one 
may  write.  The  window  group  will  have  its 
upholstered  chair  or  chairs  or  long  bench  or, 
if  a  row  of  casements  set  in  a  bay,  its  uphol- 


Repose  and  dignity  are  given  this  room  by  the  dull  gold  mirrors  flanking  the  chimney  breast,  with 
walnut  consoles  and  alabaster  lamps  beneath.  The  walls  are  peacock  blue  with  dull  gold  moldings. 
Chairs  are  covered  with  mulberry  velvet  and  the  settee  with  gold  and  mulberry  damask.  Cushions 
are  peacock  blue  taffeta.  The  rug  is  taupe.  This  living  room  is  in  the  New  York  apartment  of  Mrs. 
George  Moffetl.     Mrs.  Emott  Buel,  decorator 


stered  window  seat.  The  writing  corner  will 
have  its  desk  and  chair. 

Still  another  group  may  be  used  in  the  liv- 
ing room,  and  this  will  be  its  formal  token:  a 
console  set  against  the  wall  with  mirror  above 
and  small  chairs  on  either  side.  A  piece  of 
statuary,  lamps,  bibelots  or  any  decorative 
objet  d'art  can  be  placed  on  this  to  give  a  touch 
of  color  and  interest. 

These  are  the  fundamental  groups  in  the 
living  room,  whether  it  be  large  or  small. 

CURTAINS,  rugs  and  lamps  constitute  the 
remainder  of  the  decorations.  Each  has 
a  definite  purpose  and,  when  used  with  that 
purpose  in  mind,  most  effectively  contributes 
to  the  harmony  of  the  room. 

Curtains  serve  several  ends:  glass  curtains 
filter  the  light  so  that  an  even  glow  is  cast  over 
the  room;  over-curtains  and  their  attendant 
valances  frame  the  picture  beyond  the  window 
and  give  enlivening  color  to  the  room;  at  night, 
when  drawn,  curtains  afford  privacy.  Color 
schemes  for  curtains  are  so  varied  that  sug- 
gestion would  be  of  little  value  in  an  article 
restricted  to  definitions.  The  one  rule  to  re- 
member is  that  no  window  should  be  swathed 
in  curtains.  Simplicity  is  a  safe  guide.  There 
are  some  windows — such  as  leaded  casements 
— that  require  no  over-curtains  at  all,  a  filmy 
glass  curtain  sufficing. 

The  choice  of  pattern  in  curtain  fabrics  will 
depend  upon  the  size  of  the  room  (one  does 
not  put  a  large  pattern  fabric  in  a  small  room 
and  vice  versa),  and 
upon  the  design  in 
the  rug  and  the  gen- 
eral character  of  the 
other  furnishings. 
If  the  rug  has  a  pro- 
nounced design  the 
curtains  should  be 
of  plain  fabric  or 
one  in  w  h  i  c  h  the 
design  is  not  pro- 
nounced. Should  the 
rug  be  plain,  the  de- 
sign in  the  room  can 
be  carried  by  the 
curtains.  Further, 
choice  of  plain  or 
patterned  curtains 
will  depend  upon  the 
fabric  used  for  up- 
holstery. 

The  other  acces- 
sories —  lamp  bowls 
and  shades,  vases, 
objets  d'art  ■ —  serve 
to  introduce  spots  of 
color  in  the  room, 
strong  or  intriguing 
colors,  as  one  may 
wish. 

Lights  should  be 
placed  where  they 
best  serve  the  re- 
quirements of  the  oc- 
cupants. A  living 
room  flooded  with 
light  is  inartistic, 
hard  on  the  eyes  and 
unfair  to  the  fur- 
nishings. 


House     &     (i  a  r  d  e  n  '  $ 


A 


The  same  furniture 
styles  were  found  al- 
most simultaneously 
in  many  countries 
Because  of  this  inter- 
national relationship 
the  living  room  in  the 
Lake  Forest  home  of 
Mr.  Laurance  H. 
Armour,  is  in  perfect 
harmony.  It  contains 
Italian,  French  and 
English  furniture  of 
the  18th  Century. 
W  alls  are  a  pale 
Adam  green,  the  rug 
gray.  Miss  Gheen, 
decorator 


The  painted  sofa  can 
he  made  u  dct  orative 
leal  lire  in  a  living 
room  when  it  has  a 
plain  wall  behind  it, 
bright,  crisp  chintz 
i  ushions  on  //,  paint 
ed  pieces  in  close 
proximity  and  an 
Aubusson  rug  on  the 
flour.  '/'  //  /'  s  is  the 
I  real  went  used  in  the 
J  o  li  n  S.  Lawrent  e 
house  at  Top  field, 
Mass.  Lee  Porter. 
dei  orator 


B 0 0 k     of     I u t >  r  i  o r s 


Ivory  white  paneled 
walls,  French  mirrors, 
Chinese  rugs,  a  mold- 
ed plaster  ceiling, 
chairs  and  sofa  cov- 
ered in  green  and 
white  and  old  Chi- 
nese Chippendale 
wicker  chairs  up- 
holstered in  pink  silk 
— these  are  some  of 
the  attractive  details 
in  the  living  room  of 
Mr.  E.  E.  Bartlett's 
house  at  Amagansett, 
L.  I.  W.  Lawrence 
Bottomley,     architect 


The  bottom  of  the 
room  should  be 
heavy,  the  top  light. 
This  rule  is  followed 
in  the  living  room  to 
the  right.  The  carpet 
is  black  and  the  walls 
ivory,  further  light- 
en e  d  with  mirrors. 
Black  and  white  cut 
velvet  is  on  the  sofa 
and  deep  chair  and 
rose  brocade  on  the 
other.  Elsie  de  Wolfe, 
decorator 


10 


House     &     Garden's 


W      ADAM      ROOM      IN       AMERICA 


■    : -   iod    i  U  .     ht  a  properly 
adapted  to  meet  the  modern  requirement 
i     uitable  to  a  mod 

i    pro'i  i  a  b    i  in    Adam 
reception  room      The      all    an   taupe  and 
h    blai  i    in  i  od\  •  i d    in    i 

i       '        I    /.'"    mantel      I  hi 

rot  ha    a  dull    Hi  ei    Warm 


with  a  red  medallion  at  lop.  Of  the  furni- 
ture, lome  pieces  are  in  walnut,  some  up 
holstered  in  red  and  black.  The  fixtures 
are  also  characteristic  «j  the  period.  The 
room  is  m  sin-  Ikiiiic  of  Mr.  Ormonde  G. 
Smith,  at  Oyster  liny,  A'.  Y.  Hoppin  & 
Koen  were  the  architects  of  the  room 
and    Mi      Elsie   de    Wolfe,   the   decorator 


B o o k     of     Interior  $ 


11 


The  two  views  on  this 
page  show  the  living 
room  in  the  Chicago 
residence  of  Mrs.  How- 
ard Linn.  An  old  coif- 
feuse  is  now  used  for 
a  writing  table.  The 
chairs  are  French  paint- 
ed antiques  with  petit- 
point  seats.  A  deep 
smoke  valance  of  lace 
enriches  the  mantel.  A 
chaise  longue  in  the 
corner,  with  its  reading 
lamp  behind,  supplies 
the  maximum  of  com- 
fort. Above  the  book- 
shelves, rich  with  bind- 
ings, hang  old  archi- 
tectural  prints 


The  other  end  of  the 
living  room  contains  a 
more  formal  treat- 
ment;  a  console  and 
mirror  form  the  focal 
point,  balancing  t  h  e 
fireplace  at  the  opposite 
end.  The  Directoire 
sofa  is  covered  with 
blue  and  yellow  striped 
siLk.  From  the  blue  in 
this  is  taken  the  tone 
for  the  paint  of  the 
tvalls  and  woodwork. 
Valances  and  over- 
drapes  are  of  a  striped 
taffeta  with  sheer  wi- 
der-curtains. The  fur- 
niture was  collected 
abroad 


12 


House     &     Gar  d  en' $ 


This   simple   living   room,   with   its   open   fireplace,   conveniently  arranged  desk  and  reading  chair,  has  walls  painted 
cream  with  plush  pink  and  soft  mauve  gauze  curtains.     Mrs.  Emott  Buel,  decorator 


In  tin    morning  room,  nicfu     have  been    fitted   <  Uh    \t  or  eland  print 
h lurk  mantel  r  mnrhleiznl     lulu,  Hamilton,  decorator 


/lie  inlur  scheme  here  is  robin's  egg  blue  walls,  ecru  chintz  curtains  and 
Venetian  red  velvet  on  the  furniture.     John  Hamilton,  decorator 


Boo k     0 f     Interior  s 


13 


Among  the  ways  to  arrange  living 
room  books  is  to  enclose  the  sides 
and  top  of  a  casement,  window  bay 
with  shelves.  The  placing  of  the 
refectory  table  here  is  unusual,  and 
so  is  the  absence  of  the  ubiquitous 
window  seat.  Mellor  &  Meigs 
were   the   architects 


While  difficidt  to  decorate,  the  oval 
room  presents  many  interesting 
possibilities.  White  walls  and  mir- 
rors in  the  room  to  the  right  are 
effectively  used  to  give  an  added 
sense  of  size.  Glass  and  mirror 
doors  help  in  this.  J.  A.  Colby  & 
Son,  decorators 


An  interesting  color  scheme  has 
been  worked  out  in  this  living 
room.  Walls  are  hung  with  gold 
cloth  paper.  The  fireplace  is  of 
gray  marble  with  gray  brick 
hearth.  Chairs  are  covered  with 
blue  and  yellow  harmonizing  with 
the  cream  damask  draperies 


Furniture  in  a  living  room  should 
be  grouped  naturally  around  cer- 
tain centers  of  interest.  In  this 
room  in  the  Long  Island  residence 
of  Mr.  J .  W .  Harriman,  a  tapestry 
forms  the  background  for  one 
group  and  the  fireplace  for  an- 
other.   Alfred  C.  Bossom,  architect 


14 


[louse     &     Garden's 


Build  -  in  archi- 
tectural furniture 
lends  an  air  of 
substantiality 
and  permanence 
to  an  interior. 
In  this  thing 
room,  in  the 
home  of  Mr.  F. 
/  Hodge,  Ston- 
ington,  Conn., 
the  indented 
fireplace  i^ith 
shelves  on  each 
side  forms  the 
chief  feature 


Comfort  is  given 
the  Hodge  living 
room  by  a  deep 
couch  and  a  sim- 
ple table  holding 
lamps  and  books. 
An  intimate 
writing  corner  is 
created  on  the 
farther  side  be- 
tween the  win- 
dows ■ —  an  old 
desk  with  mirror 
and  photographs 
above.  Harry  T. 
Little,  architect 


architectural  background  of  a  room  is  found  in  the  residence  of  Mr.  li  P,  Charlton,  West- 
porl  Hurl, or,  l<  I  The  fireplace  form!  the  focal  point  li  dignity  <>j  white  marble  is  enhanced  by  the  grill 
panel   on  iii lii  r   nir,  the  woodwork  of  the  nihrr  walli  and  the  beams  oj  the  ceiling.    Farley  &  Hooper,  architects 


Book     of     Interiors 


15 


Instead  of  curtained,  windows  may  be  trellised,  as  in  the  New 
York  home  of  Mr.  J.  Theus  Munds.  On  the  side  are  old  iron 
gates,  a  lead  garden  figure  in  the  middle,  and  flower  boxes  behind. 
The  furniture  includes  a  Venetian  tray  table,  Venetian  porcelain 
appliques,  tall  wrought  iron  candlesticks  and  a  Queen  Anne  secre- 
tary.   Emil  Feffercorn,  decorator 


The  heart  of  the  living  room  is  the  fireplace.  In  the  room  below 
there  stands  beside  it  a  comfortable  couch  in  blue  and  ivory 
upholstery,  with  a  deep  chair  opposite.  The  rug,  colored  with 
reds,  pinks,  blues  and  browns,  is  the  round  center  cut  from  an  old 
Aubusson  carpet.  The  walls  are  white  paneled.  Ruby  Ross 
Goodnow  was  the  decorator 


16 


//  o  u  s  e     <"r     Garden's 


From  England  came  the  wainscoting  and  doors  for  the  living 
room  of  Mr.  C.  C.  Rumsay's  house  at  Wheatley  Hills,  L.  I.  Walls 
are  rough  and  the  ceiling  molded  plaster.  The  davenport  is  in 
blue  and  old  rose  silk,  the  large  chair  blue  green,  the  rug  black 
and  the  curtains  old  rose  lined  with  blue.  F.  Burrall  Hoffman,  Jr., 
architect;  Arden  Studios,  decorators 


The  background  of  the  splendid  l&th  Century  living  room  below  is 
gray  and  gold  glazed  with  a  rich  brown.  A  simple  mantel  was 
especially  designed  to  receive  the  old  Dutch  painting.  Jade  flower 
groups  compose  the  mantel  decorations.  The  furniture  is  Queen 
Anne  and  William  and  Mary,  the  chairs  being  covered  in  petit- 
point  of  the  period.    Emil  Feffercorn,  decorator 


Book     of     I nt  e r i o r s 


17 


■  ■«■ 

e— 

i 

It  is  the  chintz  that  furnishes  the 
color  scheme  of  this  morning  room. 
Its  cream  ground  determines  cream 
walls  and  its  turquoise  blue,  mauve 
and  pink  run  through  the  room.  The 
walls  have  been  given  a  simple  and 
excellent  finish  by  narrow  moldings 
which  divide  them  into  well-propor- 
tioned panels.  Prints  are  hung  with 
careful  regard  for  the  paneling.  Mrs. 
Emott  Buel,  decorator 


II 


■ 

II 


Kl| 


The  flower  end  of  this  living  room 
has  been  beautifully  developed.  The 
room  is  like  a  great  English  hall  with 
a  high  beamed  ceiling.  Jacobean 
furniture  is  used.  At  one  end  is  this 
large  bay.  A  broad  shelf  running 
around  it  holds  plants  and  interest- 
ing pieces  of  blue  glass  and  Chinese 
crystal.  The  leaded  windows  are 
curtained  with  casement  cloth  which 
filters  the  light 


&   lea 


It  is  the  country  house  living 
room  that  gives  the  greatest 
chance  for  riding  one's  hobby. 
The  bookman  may  have  his 
books  and  the  huntsman  his 
heads.  One  side  of  this  living 
room  is  filled  with  cupboards. 
Bookshelves  are  tucked  between 
them.  Trophies  of  the  chase,  in- 
teresting prints  and  relics  add 
diversion  to  this  wall.  The  hearth 
bench,  with  its  magazines  and 
books,  replaces  the  usual  table. 
John  Russell  Pope,  architect 


IS 


//  o  u  s  e    &    G ar den'  i 


The  spirit  of  18//; 
Century  France  is 
shown  in  tkis 
morning  room,  full 
of  quaint  and 
characteristic  or- 
naments. Perhaps 
the  most  interest- 
ing is  an  original 
bust  by  Houdon, 
on  the  mantel. 
Walker  &  Gillette, 
architects 


Assembled  in  thi* 
paneled  morning 
room  are  delight- 
ful small  armchairs 
and  deep  cush- 
ioned chairs,  a 
charming  com- 
mode and  a  rare 
table  or  two  of 
\*th  Century  ori- 
gin. Above  the 
door  and  mantel 
are  painted  panels 


Book     of     Interior s 


19 


Among  its  many  purposes  paneling 
serves  as  a  silhouette  background  for 
furniture.  It  is  especially  suitable 
for  living  rooms  and  can  be  applied 
in  many  ways — wood  paneling,  mold- 
ing nailed  on  the  plaster  to  form 
panels,  and  panels  painted.  Fisher, 
Ripley  &  Le  Boutellier,  architects 


Unpretentious,  and  yet  dignified  and  livable,  this 
morning  room  has  an  airy  grace  and  a  sense  of 
spaciousness  that  is  pleasing.  The  white  walls  and 
beamed  ceiling,  the  simple  fireplace,  the.  chairs 
disposed  in  natural  groups,  the  hanging  shelves 
and  cabinet,  the  small  tables  for  books  and  maga- 
zines, and  the  old  botanical  prints  combine  to 
make  an  unusual  room 


Of  a  type  entirely  different  from  the  other  living 
rooms  on  these  pages  is  the  interior  of  Miss  Ellen 
Terry's  cottage  in  England.  In  restoring  the 
house  the  main  room  was  kept  in  the  original 
atmosphere  with  the  open  fire,  the  broad  mantel 
shelf,  smoke  valance,  and  the  hearthside  benches. 
The  floor  is  brick.  Old  pewter  and  china  com- 
plete  the  picture 


20 


//  o  u  s  e    &     Garden's 


An  air  of  comfort  has  been  attained  in  this  living  room,  which  is  in  the 
Neu  York  apartment  of  Mrs.  Price  Post,  by  the  commodious  furniture 
grouped  around  the  fireplace.  Its  covering  is  a  pink  mulberry  chintz. 
Italian  landscapes  have  been  set  into  the  paneled  beige  walls  above  the 
built-in  bookcases 


The  morning-room  with  deep  cream  walls 
and  a  wood  colored  davenport  and  carpet 
is  a  symphony  in  browns  and  yellows,  with 
an  orange  yellow  chintz  as  the  predominat- 
ing color  note.  A  ISth  Century  Italian 
painting  forms  the  center  panel  above  the 
davenport,  and  English  prints  are  used  for 
further  decoration 


Emerald  green  painted  I  unlit  me  and  old 
New  York  scenic  wall  paper  -villi  green 
taffeta  curtains  create  a  delightfully  quaint 

dining  mom  White  doited  Swiss  is  used 
for   the   glass  curtains   and  at   the  French 

doors 


Book     of     Interiors 


21 


An  infinite  variety  of  treatments  can  be  given  the  wall  with 
paint.  In  this  study -morning  room,  for  example,  the  walls 
have  been  painted  a  pale  pink  and  marbleized.  At  regular 
intervals  are  tall  lapis  lazidi  pilasters  with  gold  caps.  The 
cornice  is  malachite  green  and  the  baseboard  black.  It  is  a  dar- 
ing but  livable  color  scheme.     Ruby  Ross  Goodnow,  decorator 


Slip  covers  are  a  simple  and  effective  solution  for  the  country 
house  living  room  furniture.  The  couch  and  upholstered  chair 
below  are  in  a  quaint  chintz  of  blue,  mauve  and  pink  on  a 
cream  ground.  From  this  is  taken  the  turquoise  blue  of  the 
console  tables.  Mauve  and  plum  taffeta  covers  the  pillows. 
Mrs.  Emott  Buel  was  the  decorator 


22 


//  a  u  s  c     <'r     G ar  den' s 


.1  delightful  morning  room  and  boudoir  combined  has  been  created 
in  the  home  of  Mrs.  George  A.  Palmer,  Port  Chester,  N.  Y.  Cur- 
tains are  satin  striped  in  rose,  blue  and  gold.  An  armchair  is 
lovered  in  blue  taffeta  fringed  with  gold.  Mrs.  A.  Van  R.  Barne- 
wall,  decorator 


On  another  side  of  this  morning  room  an  unusual  walnut  bookcase 
fills  the  space  between  the  windows,  with  convenient  tables,  maga- 
zine stands,  comfortable  chairs  and  reading  lamps  in  close  prox- 
imity. On  still  another  side  of  the  room  is  a  walnut  sofa  uphol- 
stered in  old  blue  satin 


Book     of     Interiors 


23 


One  can  do  many  things  with  the  long  table  in  a  living 
room.  It  can  be  placed  back  of  a  coach  before  the  fire, 
or  a  pair  of  them  behind  couches  on  either  side  of  the 
hearth,  or  placed  along  the  nail  and  made  the  center  of 
a  pleasant  grouping  with  chairs  and  painting  above.  Or 
it  may  be  used  as  in  this  living  room,  where  it  stands 
in  front  of  a  long  row  of  French  doors.  J.  A.  Colby  & 
Son,  decorators 


When  the  living  room  walls  are  paneled  in  oak,  the  fur- 
niture should  live  up  to  its  dignified  background.  Ja- 
cobean furniture  is  a  happy  choice  for  such  a  room, 
especially  if  it  is  large  enough  to  dispose  these  pieces  in 
natural  groups,  as  has  been  done  in  this  living  room  in 
the  home  of  Mr.  G.  A.  Schieren,  at  Great  Neck,  L.  I. 
A  Jacobean  settee  has  been  placed  on  either  side  of  the 
fireplace.     Aymar  Embury  II,  architect 


Comfortable  as  well  as  beautiful  is  this  living  room  in  the  New  York  home  of  Mr.  Oliver  Perin,  with  its  paneled  wall  of  pale 
green,  its  figured  screen  of  mulberry,  green  and  black  silk,  and  its  deep-seated  chairs  covered  with  mulberry  taffeta.  The  settee  is 
covered  in  putty  colored  silk  with  mulberry  stripes.    Delightful  bits  of  jade  and  alabaster  give  notes  of  gray  and  green  to  the 

mantel  and  small  tables.     Decorations  bv  Mrs.  Emott  Buel 


24 


//  o  u  $  e      <r      <  i  a  r  d  i 


\<>l  the  least  -problem  of  living 
room  equipment  it  the  lighting. 
Lights  \hould  be  where  they 
are  needed.  The  strong  light 
flooding  all  the  room  is  unde- 
sirable for  homes.  Small  fix- 
tures can  be  given  more  inter- 
esting treatment.  In  the  room 
to  the  left,  which  is  in  the  New 
York  home  of  Mrs.  Gifjord 
Cochran,  the  side  lights  are 
Chinese  glass  pictures  made  into 
appliques,  whereas  the  lamp  by 
the  side  of  the  sofa  is  a  blanc 
de  chine  tree  surmounted  by  a 
luminous  parchment  shade. 
Decorations  by  Karl  l-reund 


Another  interesting  feature  of 
the  <  a  •  h  r  a  n  r  o  0  m  i  the 
painted  doot  J  In  mode,  very 
much  in  vogue  during  the  \Hth 
try  in  France  and  Ha 

al  toda       Old 
readi       b( 
and  the  "dor    run  In    cho  en  to 

suit  tin  general  cheme  of  the 
ih  a  decorated, 
the  architectural  value  of  the 
door  i  pronounced  and  tin- 
enriched 
I  lu  other  '  oodv  ork,  of  tout  <-. 
-,,  di  be  tinted  to  match  and 
then   given   a   dulling   coat    of 

tllOi     and    antiqued 


Book     of     Interiors 


25 


This  country  house  reception  room  is  done  in  mulberry,  soft 
gold  and  sea-green.  Use  has  been  admirably  made  oj  old  gilt 
valance  boards  with  French  draped  valances  of  sea-green  gauze 
below.  On  the  mantel  are  vases  of  painted  tin  flowers.  Agnes 
Foster  Wright,  decorator 


Another  reception  room,  in  the  Detroit  home  of  Mr.  J.  S. 
Newberry,  has  simple  panels  and  the  few  pieces  of  furniture 
requisite  for  receiving  gtiests — a  comfortable  couch  in  front  of 
the  fire,  a  small  table,  and  one  or  two  period  chairs.     Albert 

Kahn,  architect 


In  addition  to  the  charmingly  intimate  reception  rooms,  such  as  the  two  shown  above, 
are  those  in  large  houses  where  unlimited  space  permits  the  use  of  large  furniture.  In  the 
room  below,  which  is  in  the  residence  of  Mr.  Francis  L.  Higginson,  Jr.,  at  Wenham, 
Mass.,  a  Jacobean  refectory  table  and  chairs  are  placed  to  good  advantage.  Between  the 
French  doors  hang  large  carved  mirrors  and  quaint  benches  below.  The  walls  are  white 
paneled.     Bigelow  &  Wadsworth,  architects 


26 


//  o u s e    &    Garden's 


A  corner  of  the  sa- 
lon in  the  New 
York  residence  of 
Mrs.  Joseph  Dil- 
worth  shows  yellow 
gauze  glass  curtains 
and  green-blue  taf- 
feta over-drapes. 
The  settee  is  covered 
in  orange  brocade 
and  the  chair  be- 
side it  in  plum , 
orange  and  yellow. 
Mrs.  Emott  Buel, 
decorator 


Formality    and 

dil  \    an-   p 
anil 

living    room    in 
the  i  illiam 

I      Clo       U 

l        /• 
beam  brink  tht 

the  /  t   llu 

dOOt 

I  .  mar 

bleandbricl  Ho 

ard     ■  the 
archi 


v^ 


Book     of     Interiors 


Z7 


//  one's  purse  can- 
not afford  to  have 
all  the  downstairs 
rooms  paneled  in 
either  wood  or 
molding,  then 
choose  the  living 
room.  It  demands 
a  dignity  of  treat- 
ment that  will  be 
more  and  more 
appreciated  as  the 
furnishing  of  the 
room  is  completed 
by  the  addition  of 
well  -  selected 
pieces.  Harry  Red- 
fern  was  the 
architect 


The  draped  wall 
affords  an  unusual 
treatment  for  the 
small  house  living 
room.  Its  cost  will 
depend  upon  the 
fabric  used.  Linen 
and  hand  -  woven 
fabrics  furnish  the 
best  choice.  The 
color  contrast  of 
folds  and  the  soft 
effect  of  fabric  give 
a  qtdeting  effect 
to  the  room.  The 
color  scheme  is 
gold  and  blue. 
Herter  Looms, 
decorator 


28 


//  i)  u    e     &     Garde  n  ' 


(.Below)  An  interesting  study  in  balanced 
furniture  arrangement  is  found  in  the 
Vev  York  residence  of  Mr.  Frederic  C. 
Bartlett.  Each  console  bears  a  beautiful 
lustre  and  above  it  hangs  a  painting  in  a 
dull  gold  frame.  The  consoles  are  gold 
and  white.  A  grouping  of  this  kind 
would  be  suitable  for  a  large  hallway  or 
a  reception  room  where  space  is  sufficient 
for  appreciative  arrangements 


So  long  as  the  mantel  is  kept  free  from  a 
clutter  of  non-essentials,  the  overmantel 
embellishment  can  be  almost  anything 
that  suits.  In  the  morning  room  of  the 
residence  of  Mrs.  I).  C.  Osborne  in  Boston 
an  old  tray  has  been  used  in  the  panel 
above  the  fireplace.  It  is  flanked  by  tall 
candles.  The  walls  are  pale  yellow  with 
green  and  violet  for  other  color  notes. 
Lee  Porter,  decorator 


{Below)  In  the  living  room  of  the  Osborne  residence  the 
ivindow  trim  has  been  accented  by  a  broad  band  of 
antique  gold.  Walls  are  deep  cream,  curtains  dark  gray 
and  gold,  the  rug  catawba,  blue  and  bronze.  A  Dutch 
altar  candle  has  been  made  into  a  lamp  for  the  table. 
A  lamp  of  wrought  iron  introduces  interest  into  the 
corner.     The  decorator  was  Lee  Porter 


Book     of     Interiors 


29 


The    LIBRARY    WITH 
PERSONALITY 


30 


//  ii  it  i  e     <"r     G  a  r  d  e  n  '  % 


PLANNING     F  O  R     T  UK     FURNITURE 


i   ten   po    ibU    to   trim-  out   just 
;  to  pnl     out   i  ho'u  •   pu "     oj  furniture, 
01  dingl  <    I  hi    Ion  thought  will 
■  air  of  pet  manem  e,  com 


fort  and  satisfaction.  In  this  librat  v  a  place  was  <  natal  for 

the  Colonial  secretary  and  the  bookshelves  built  around 

ii    The  old  stool,  the  chair  and  the  butterfly  table  are  all 

in  keeping    Fisher,  Ripley  &  Le  Boutellier,  architects 


Book     of     Interiors 


31 


THE     LIBRARY     WITH     PERSONALITY 

//  Has  Three  Corners,  All  of  Which  Contribute  to  the  Comfort  and 
Convenience  of  Those  Who  Love  Books 


A  LIBRARY  is  a  place  in  which  to  keep 
books.  Books  are  the  most  important 
things  in  it.  Nothing  can  surpass  them 
for  creating  the  atmosphere  of  this  room  and 
nothing  should  supersede  them  as  means  of 
decoration.  For  hooks  both  delight  the  eve  and 
quicken  the  soul.  They  are  at  once  objects  of 
beauty  and  companions.  They  populate  a 
room  with  innumerable  characters.  No  library 
i-  ever  empty.  Apparently  a  place  of  quiet 
study,  of  placid  and  serene  enjoyment,  it  is 
also  a  place  where  countless  people  foregather. 
In  that  sense,  a  library  is  always  a  crowded 
room,  a  room  of  unending  activity.  Conse- 
quently, there  should  be  wide  open  spaces  in 
it,  the  utmost  of  comfort  and  colors  that  soothe 
the  mind. 

These  may  seem  very  banal  sentiments,  but 
they  are  necessary.  There  are  alleged  libraries 
in  which  books  play  only  a  secondary  role, 
places  so  crowded  with  chairs  and  knick- 
knacks,  so  riotous  with  colors  that  there  is 
scarcely  room  for  the  owner.  If  you  have  no 
taste  for  books,  if  you  care  more  for  decorations 
than  books,  then,  don't  call  that  room  a-library, 
give  it  a  different  name — call  it  a  morning 
room  or  something 
like  that.  Spare  the 
word  library,  spare  it 
for  the  sake  of  its  as- 
sociations and  its  hon- 
orable past. 

AFTER  books,  a 
±\_  fireplace  is  the 
second  requisite  in  a 
library.  It  will  prob- 
ably set  the  style  of 
the  room  —  Colonial, 
Georgian,  French, 
Tudor,  or  what  not. 
The  main  thing  is  to 
have  a  fireplace — one 
that  actually  burns, 
and  preferably  wood, 
although  an  English 
hob-grate  for  coal  is 
not  to  be  scorned. 

Close   to  it   should 
be  comfortable  chairs, 


a  couch  and  adjustable  reading  lights.  Floor 
lamps  attached  to  baseboard  plugs  are  the  best, 
as  they  can  be  moved  around  wherever  one 
wants    them. 

This  fireplace  grouping  should  be  balanced 
by  another,  if  there  is  space.  The  fireplace  for 
winter  reading  and  another  for  the  more  kindly 
months — say,  a  bay  window  looking  out  over 
the  garden  or  down  some  quiet  street.  An 
over-upholstered  chair,  a  small  table  close  at 
hand,  a  stool  to  prop  one's  feet  on. 

A  third  group  is  the  writing  table,  placed 
wherever  convenient,  preferably  in  good  light 
from  a  window.  It  will  require  a  comfortable 
light-weight  chair,  lamp  or  lamps  and  the  nec- 
essary  writing  jraraphernalia.  Perhaps  an 
easy  chair  can  be  placed  alongside  this  desk. 

Other  furnishings  may  be  necessary  in  a 
large  library — flat  tables  for  big  portfolios,  dic- 
tionary stands  and  such — but  these  three 
groups  are  all  one  needs.  If  space  is  small,  they 
may  he  combined  in  one  group  around  the  fire- 
place. After  all,  you  can  make  a  library  out  of 
a  shelf  of  books,  one  table,  one  lamp,  and  one 
big  chair  of  the  sort  that  makes  you  say,  "Well, 
I  guess  I'll  sit  down  here  to  think  it  over." 


pr  FiTRl 

►/hit 


Because  a  library  is  a  place  where  one  re- 
poses and  think.-,  as  well  as  reads,  there  should 
be  open,  restful  spaces,  which  are  conducive  to 
thinking  and  repose. 

For  this  same  reason  the  wall  and  curtain 
colors  in  the  library  should  be  quiet.  Enough 
color  activity  will  be  afforded  by  the  book  bind- 
ings. Curtain  fabrics  should  have  not  too  pro- 
nounced a  pattern  and  should  be  made  with  a 
simple  shaped  valance.  If  the  walls  are  pan- 
eled in  wood — oak  or  gum  wood  or  wood 
painted — a  very  dignified  room  will  result.  Or 
they  can  be  paneled  with  molding  or,  finally, 
papered.  In  any  event  keep  the  walls  unob- 
trusive and  choose  quiet  colors. 

AS  an  intimate  room,  the  library  is  second 
2\  only  to  the  lied  chambers.  Therefore 
personal  accessories  are  used — bibelots,  photo- 
graphs, objets  d'art,  souvenirs  of  travel  and 
friendship.  But  these  should  not  be  permitted 
to  clutter  the  room.  The  mantel  shelf,  for  ex- 
ample, should  not  be  piled  high  with  them. 
Keep  that  space  free.  A  pair  of  candlesticks 
and  a  clock,  a  pair  of  beautiful  vases  and  a 
bronze;  above  the  shelf  a  mirror  or  a  painting 
set  in  the  wall — these 
enrichments  are  suffi- 
cient and  give  dignity 
to  the  focal  point  of 
the  room. 

As  in  other  rooms, 
a  soft  tone  floor  cover 
is  preferable.  A  two 
tone  rug  with  a  deep 
pile  or  Orientals  of 
quiet  colors  can  be 
used.  An  excellent 
and  inexpensive 
scheme  is  to  take 
plain  carpeting  and 
have  it  sewn  together 
to  make  a  rug.  Old 
time  hooked  rugs,  now 
enjoying  renewed 
popularity,  may  be 
used  if  the  library 
furniture  is  Colonial. 
They  give  a  touch  of 
color. 


IT 

rr 


The  acme  of  luxury  is  a  library 
paneled  in  English  oak  with  inset 
bookshelves  and  a  plenitude  of 
easy  chairs.  The  library  of  Mr. 
Henry  C.  Perkins,  Hamilton, Mass. 


On  either  side  of  the  fireplace 
bookshelves  can  be  built  in, 
as  in  this  reading  corner,  of 
which  Chamberlin  Dodds  was 
the  decorator 


The  stone  fireplace  and  vari- 
colored bindings  give  this  li- 
brary corner  character.  From 
the  home  of  E.  S.  Atwood, 
Esq.,   East   Gloucester,   Mass. 


32 


II  o  u  s  e     <"r     G  n  r  d  e  n  '  s 


\sm 


% 

si'-  -^~         can       BBBH 

IIP! 

tw  mm!    !»n!W  — 


main  mis* 


.4  built-in,  architectural  bookcase  will  establish  the  atmosphere  of  a 
library,  especially  if  it  has  such  a  distinctive  design  as  this.  It  is 
matched  at  the  opposite  end  of  the  room  by  a  group  of  windows. 
The  woodwork  is  ivory  and  the  walls  pale  yellow  grass  cloth.  The 
room  is  in  the  home  of  Mrs.  Edwin  Hotter,  Mt.  Kisco,  N.  Y. 


The  library  in  the  residence  of  Eugene  Meyer,  Jr.,  at  Mt.  Kisco, 
N.  Y '.,  is  paneled  in  English  oak,  making  a  dignified  room.  Built-in 
bookcases  are  along  two  walls.  A  stone  mantel  of  delicate  design 
forms  the  focal  point.  Around  the  fireplace  are  grouped  comfortable 
couches  and  deep  chairs.    Charles  A.  Piatt,  architect 


Book     of     Interior 


33 


Chintz  covers  the  furni- 
ture in  this  unusual  li- 
brary. A  quaint,  chintz- 
covered  fireside  seat  is  the 
final  touch  of  comfort.  It 
is  a  room  worthy  of  the 
books 


White  woodwork 
with  blue  and  crim- 
son decorations  on 
the  pilasters  and 
capitals  and  arched 
top  shelves  gives 
unusual  character  to 
this  library.  The 
table  is  Ibth  Cen- 
tury Italian.  Karl 
F r eund  was  the 
decorator 


An  interesting  li- 
brary corner  is 
found  in  this  old 
house  in  Sussex, 
where  the  window 
embrasure  is  cur- 
tained off,  making  a 
quiet  spot  for  the 
lacquer  cabinet,  the 
shelves  and  the  com- 
fortable chairs 


34 


//  i)  u  i  e     &     C  a  r  d  e  n  '  s 


If  the  books  are  the  most  im- 
portant thing  in  the  library, 
then  surely  thi<,  library  is  com- 
pletely furnished.  Along  one 
mtire  end  crowded  shelves 
range  from  floor  to  ceiling, 
and  again  on  either  side  the 
fireplace.  A  gallery  breaks 
this  farther  wall,  giving  inti- 
mate access  to  the  books 
above.  The  walls  are  paneled 
in  dark  oak,  and  the  white 
plaster  ceiling  is  relieved  by 
a  molded  design.  Comfortable, 
deep  couches  make  it  a  very 
livable  library 


In  keeping  with  the  dignity  of 
the  gallery  end  is  the  fireplace. 
It  is  faced  with  stone,  a  sim- 
ple panel  flanked  by  fluted 
pilasters  forming  the  chimney 
breast.  On  the  mantel  the 
silver  candles  and  Empire 
clock  with  painting  above  give 
a  balanced  enrichment.  A  chair 
upholstered  in  tapestry  stands 
on  one  side  and  a  velour-cov- 
ered,  deep  reading  chair  on 
the  other.  Bookcases  on  each 
side  are  built  in  flush  with  the 
wall.  The  bindings  give  rich 
color  to  the  room 


B o o k     of     I  nt e r i o r s 


35 


In  the  New  York  residence  of  Mr.  Edward  A.  Shewan  has  been  created 
a  little.  Tudor  library  oj  unusual  interest.  The  room  is  paneled  in  \bth 
Century  oak,  bookshelves  being  let  into  the  walls  and  concealed  behind 
panels.  Hwmonizing  with  the  woodtaork  are  curtains  of  Florentine 
crimson  and  gold.     Karl  Freund,  decorator 


A  harmony  in  soft  browns  is  this  library,  with  its  well-proportioned 
paneling  in  the  natural  colored  French  oak,  and  Regency  settee  and  chairs 
covered  in  mellow-toned  Beauvais  tapestry.  The  table  desk  is  a  repro- 
duction of  one  at  the  Louvre.  Hangings  are  crimson.  Alavoine  &  Co. 
were  the  decorators 


//  o  u  i  i'.     &     C ar den'  $ 

7  hi-  lovers  of  booki  are  di- 
vided on  how  they  should  be 
shelved.  Some  say  that  they 
should  be  placed  behind  glasi 
where  dust  cannot  corrupt 
them.  Others,  who  desire  the 
genuine  intimacy  oj  books, 
champion  the  open  shelf.  In 
this  library  corner  the  open 
shelves  and  the  woodwork  are 
while.  A  magazine  table 
stands  in  front  of  the  books 
and  an  easy  chair  is  placed  in 
a  good  reading  light.  Mrs. 
Emotl  Kuel,  dfcorator 


One  of  the  most  convenient 
bookshelf  arrangements  is  to 
have  the  shelves  built  in  sec- 
tions, the  top  board  covering 
and  binding  all  three.  This 
top  shelf  can  come  slightly 
above  the  top  of  the  average 
chair,  giving  a  broad  surface 
for  the  display  of  interesting 
bibelots  and  objets  d'art.  The 
simple  paneled  walls  of  this 
library  are  painted  an  elusive 
gray-green,  furnishing  an  ex- 
cellent background  for  the 
books 


B  o  o  k     of     Interior  s 


37 


Books  help  to  humanize  a 
room.  They  give  it  an  at- 
mosphere of  comfortable  cul- 
ture. In  the  library  to  the 
right,  for  example,  a  row  of 
shelves  from  baseboard  to  cor- 
nice enriches  the  corner  with 
vari-colored  bindings.  The 
deep  couch,  the  open  fire,  the 
white  woodwork,  the  huge  fur 
rug  are  all  companion  ele- 
ments in  making  this  a  quiet. 
orderly,  livable  room  where 
books  can  be  and  are  appre- 
ciated. Decorations  by  Lee 
Porter 


Even  though  it  has  open 
spaces,  the  library  below  is  an 
intimate  room.  First,  it  con- 
tains only  the  necessary  furni- 
ture, and  each  piece  has  some 
distinguishing  merit.  Second, 
its  books  are  many  and  easily 
reached.  Third,  its  archi- 
tectural elements  —  such  as 
that  landing  and  its  handrail, 
the  wide  board  floor,  the 
carved  mantel — come  in  nat- 
urally as  part  of  the  room. 
And,  finally,  its  accessories  a~e 
interesting.  Peabody,  Wilson 
&  Brown,  architects 


38 


//  o  u  s  e     &     Garden'  s 


THE     ARCH  [TECTURAL     BOOKCASE 


.  /:      man  and  mon  the  i  u 

lom     i"    h"ii>r      0)      '""il    !•)  l>      to    Ircnl 

a    an  m  •  kiti  <  i  "ml  feature, 
,,./  i  in    helvt    into  the  ■  all, 

i In  hi    ini  in    part    ni    the    art  hi 

u  ,:  bat  !  ■  -,  mm, i  oj  i lii   room      l  In' 


,  mill  used  in  this  library  is  butternut 
in  a  warm,  rich  brown,  I  chair  uphol 
iirni  111  ,i  brilliant  English  chintz  gives 
color  variety  to  the  ensemble  From  the 
New  York  residence  of  F.  F.  Palmer 
Delano   &  Aldrich  were  the  architects 


B  o  ok     of     Interior  s 


39 


ELEGANCE     IN     THE 
DINING       ROOM 


-40 


House    &     G  arden'  t 


-  ■  ■-  '■'"''•' 


- '  "~"     "■■■"""■      <><■-"'■'■'         ■ — 


THE     PANKLKI)     WALL 


n  uii  beautiful  in  it  elf,  the  simple  paneled  wall  can  often  be  given  additional  interest  "?'>"'"• 

in  th»  panel      In  thi    d ij  room,  where  the  panels  form  a  digmfxed  ^ffZt^nn] 

4  old  Dutch  pictures  nave  been  jet  in  on  either  side  the  fireplace,    The  over-mantel  decorations 
con  i  i  "l  old  bronze  i  ases,  wall  lights  and  an  antique  convex  minor 


B 0  ok     of     Interior s 


41 


ELEGANCE       IN       THE       DINING       ROOM 


The  Necessary  Furniture  Arranged  in  An  Orderly  Fashion  and  with  Accessories  to  Delight 
the  Eye  Creates  the  Atmosphere  Required  for  Dining  Well 


ELEGANCE  and  elegant  are  two  words 
verv  often  misused  in  America.  The  one 
is  sweepingly  applied  to  such  diverse 
things  as  a  good  dinner,  a  becoming  hat  or  a 
beautiful  sunset;  the  other  is  considered  the 
pose  of  the  corrupt  and  contented  rich. 

Elegance  is  a  very  restricted  attribute,  and 
it  is  not  a  pose.  It  is  the  concomitant  of  gen- 
tility and  culture.  Social  upheavals  and  the 
misuse  of  the  word  cannot  destroy  elegance.  It 
is  a  fundamental  quality  always  active  in  cer- 
tain strata  of  society  and  quiescent  at  least  in 
others.  Provide  a  modicum  of  leisure  and  the 
means  that  made  a  modicum  of  leisure  possible, 
and  elegance  or  the  striving  for  it  immediately 
manifests  itself.  In  no  other  phase  of  life 
is  this  more  true  than  of  the  decoration  of  the 
house. 

We  speak  of  the  livableness  of  living  rooms, 
the  intimacy  of  bedrooms,  the  hospitality  of 
halls  and  the  personality  of  libraries,  but  the 
one  room  in  which  elegance  should  be  evident 
i-  the  dining  room.  This  is  made  even  more 
important  by  a  recent  economic  change  in  the 
United  States. 

Whether  for  good  or  evil,  whether  legal  or 
illegal,  whether  the  will  of  the  people  or  the 
madness  of  religio-maniacs,  Prohibition  is  an 
established  fact.  Drinking  has  gone  out  as  an 
art.  With  this  social  cus- 
tom destroyed,  it  is  reason- 
able to  believe  that  its  place 
will  be  taken  by  eating. 
And  eating  is  the  one  habit 
common  to  man  with  which 
elegance  has  been  most 
often  associated. 

We  are  not  concerned 
here  with  the  alimentary 
requisites  of  gastronomic 
delight — such  a  subject 
would  fill  many  volumes — 
but  we  are  interested  in  the 
part  played  in  the  fine  art 
of  eating  by  the  place  where 
one  eats.  The  actual  food 
on  the  table  is  only  half  the 
meal.  The  other  half  is  the 
kind  of  table,  the  kind  of 
napery  and  silver  and  deco- 
rations, the  chairs,  the  walls 
and  all  those  other  furnish- 
ings that  combine  to  estab- 
lish an  atmosphere  of  ele- 
gance in  the  dining  room. 


>ERHAPS  the  first  mark 
of  elegance  is  the  desire 


Lancashire  chairs  and  a  Welsh  dresser,  but  the 
Mission  will  offend  the  eye,  whereas  its  parallel 
in  simplicity  will  not.  Those  who  plead  for 
Mission  say  that  it  is  "honest  craftsmanship", 
that  it  "shows  how  it  was  made."  These  ob- 
vious facts  are  the  deadly  foes  of  elegance. 
Elegance  pre-supposes  good  craftsmanship, 
and  above  all  things  it  does  not  want  furniture 
that  shows  how  it  was  made.  Such  things 
rarely  delight  the  eye. 

-  The  delight  of  the  eye,  it  must  be  remem- 
bered, is  twin  to  delight  of  the  palate.  The 
difference  between  good  hash  and  bad  is  often 
the  way  it  is  served  and  the  room  it  is  served  in. 

Another  evidence  of  elegance  is  order,  and 
order  requires  a  certain  amount  of  formality. 

Formality  is  a  compliment  a  hostess  pays 
her  guests  and  a  mark  of  respect  she  pays  her- 
self. Formality  is  order — the  right  thing  at 
the  right  time  and  in  the  right  place.  Order 
demands,  for  example,  that  only  the  necessary 
pieces  of  furniture  be  placed  in  the  dining 
room.  A  couch  is  obviously  unnecessary.  So 
is  a  china  closet.  Why  display  all  one's 
ceramic  possessions?  Keep  the  china  in  the 
pantry.  It  is  disorderly  in  the  dining  room. 
On  the  other  hand  there  may  be  accessories  that 
delight  the  eye — mirrors,  torcheres  on  either 
side  the  serving  table,  bits  of  Capo  di  Monte 


or  a  fish  bowl  set  in  the  bay  window  to  catch 
the  sunlight.  These  are  more  useful  than  a 
china  closet  for  the  simple  reason  that  they  are 
beautiful  and  interesting. 


a; 


to  have  a  few  things  but 
have  them  good.  One  must 
first  choose  between  quality 
and  quantity.  After  that 
quality  itself  is  subjected  to 
rigorous  tests. 

Discernment  does  not 
judge  the  value  of  dining 
room  furniture  on  the  basis 
of  usefulness  alone;  it  must 
delight  the  eye.  A  Mission 
dining  room  suite,  such  as 
one  sees  advertised  by  the 
instalment-plan  furniture 
houses,  may  appear  more 
useful  than  a  set  of  quaint 


is  that  it  is  in- 
.  ducive  to  quiet. 
Elegance,  as  we  have  tried  to  show,  is  a 
subtle  attribute  of  the  mind,  a  way  of  looking 
at  life  and  the  objects  that  enrich  life.  For 
the  fullest  enjoyment  of  such  objects — and  for 
life  itself — one  must  have  a  calm  atmosphere. 
Certainly  quiet  and  calm  are  requisites  in  the 
enjoyment  of  a  meal. 

Consequently  elegance  will  not  choose  a 
piece  of  furniture  that  has  an  objectionable 
contour.  A  great  deal  of  Rococo  furniture  is 
inelegant,  because  it  is  too  exuberant,  and  cot- 
tage furniture,  on  the  other  hand,  may  also  be 
inelegant  in  certain  rooms  because  it  is  too 
severe.  There  is  a  nicety  that  guides  the  choice. 
In  the  matter  of  colors,  elegance  will  not  tol- 
erate those  that  disturb  the  eye  or  such  as  are 
grouped  in  a  fashion  that  makes  them  difficult 
to  live  with.  For  elegance  above  all  things  is 
a  livable  atmosphere.  It  avoids  the  novelty. 
It  lasts  through  generations.  The  elegancies 
of  our  forebears  are  just  as  elegant  today  as 
the}'  were  a  century  ago. 

Finally,  elegance  presup- 
poses restraint.  And  re- 
straint is  the  fundamental 
rule  in  furnishing  any  room. 
Especially  is  this  true  of  the 
dining  room. 


I 


The  color  scheme  of  this  dining  room  includes  paneled  gray  walls,  blue  lacquered 

ceiling,  antique  gray  painted  furniture  with  plum  and  blue  decorations  and  a  gray 

Wilton  carpet.     Herter  Looms,  decorator 


N  the  pages  that  follow 
are  many  types  of  dining 
rooms.  Each  has  a  distinct 
personality  and  each  gives 
delight  to  the  eye.  There 
are  distinguished  dining 
rooms  in  the  English  and 
Italian  manner,  cottage  din- 
ing rooms,  rooms  of  sim- 
plicity and  rooms  of  rich- 
ness. In  every  one  only  the 
necessary  furniture  has 
been  used.  Elegance  is 
found  in  that  furniture  and 
in  such  accessories  as  cur- 
tains, lights,  shades,  screens, 
and  over-mantel  decorations. 
The  element  of  order  is 
also  apparent  and,  in  most 
of  the  rooms,  an  atmosphere 
of  calm.  Some  of  this  calm 
is  due  to  the  wall  treat- 
ments— panels  and  such — 
some  of  it  is  given  by  scenic 
papers  of  great  heritage,, 
some  by  the  softness  of  the 
rug,  some  by  the  ease  of  the 
chairs.  Order  is  given  by 
the  arrangement  of  the  fur- 
niture and  the  regularity  of 
the  architectural  details  of 
doors  and  windows. 

They  are  rooms  the  ama- 
teur decorator  can  well 
study  with  profit.  They 
have  an  atmosphere  con- 
ducive to  eating  as  a  fine 
and  genteel  art. 


I 


42 


//  0  u  $  c      ("r      Cur  d  <■  n  '  $ 


The  soft  brown  of  the  paneling  in  the  dining  room  of  the  residence 

of  C.  H.  Connor,  Rye,  N.  Y.,  is  enriched  by  the  deep  rich  damask 

draperies.    The   mantel  group,  with   its  handsome  iron  and  silver 

flower  stands,  is  unusual.   Agnes  Foster  Wright,  decorator 


Gay,  picturesque  and  quaint  is  this  dining  room,  with  its  brilliantly 

colored  wall  paper  of  "Scenic  America",  printed  in  Alsace  Lorraine 

in    1840.     The   refectory   table,  side   table   and   chairs   are  painted 

emerald  green.   Decorations  from  Wanamaker 


A'  o  o  k     of     Interior  s 


43 


The  mirror  holds  many  secrets.  It 
can  tell  how  to  make  a  small  room 
appear  large  and  a  dark  room  seem 
gay.  Bat  one  must  choose  the  right 
mirror  for  the  room  and  place  it 
properly.  In  this  medium  dining 
room  the  only  light  came  from  the 
north  and  it  was  drab.  A  large  mi) 
ror  in  the  French  fashion  —  cut  in 
squares  and  held  in  place  by  small 
gold  rosettes  —  was  placed  on  the 
main  wall,  completely  filling  the  cen- 
tral panel.  It  reflects  two  lovely 
crystal  lustres  and  an  alabaster  vase 
that  stand  on  the  black  marble- 
topped  console.  Mrs.  Emott  Buel 
was  the  decorator 


The  spirit  of  the  l&th  Century  is 
crystalized  in  this  dining  room  in  the 
residence  of  Mrs.  William  K.  Van- 
dcrbilt.  The  walls  are  antiqued 
paneling  painted  green  and  gold.  At 
the  casement  windows  is  hung  an 
l&th  Century  chintz  in  which  peach 
color  predominates.  A  peach  colored 
brocatel  is  used  for  upholstery  on  the 
walnut  chairs.  The  sideboard  is  a 
Will. am  and  Mary  antique,  holding 
old  purple  glass  bottles.  Over  it 
hangs  a  mirror  with  a  petit  point 
panel.  The  serving  consoles  by  the 
window  and  the  china  cupboard  add 
further  interest.  Schmitt  Brothers, 
decorators 


44 


//  o  u  s  e     &     G  a  r  <l  c  u 


The    walls    of    this    picture-book 

dining  room   in  an   old-fashioned 

cottage  bloom  gaily  with  posies. 

red  and  pink,  on  a  white  ground 

with    mall  blue  buds  and  bits   of 

green     peeping     through.      White 

dolled  Swiss  sash-curtains  and  a 

rag  carpet   bright   with  rose  and 

blue  checks  are  fust  the  right  set- 

or  all  those  things  dear  to 

the  heart  of  the  cottager — Wind 

or  chairs,  a  Queen  Anne  gate-leg 

table,    and    an     old    oak     dresser 

holding    blue    and   yellow   plates. 

r  and  old-pink  lustre  <  hinc 

are  spread  for  tea  for  two.  Deco 

rations   from    Wanamnl-i  r 


Tucked  in  the  corner  of  another 
of  those  fairy-tale  dining  rooms — 
in  this  instance  the  one  in  the 
cottage  of  Mr.  Amos  Lawrence 
on  the  North  Shore  of  Massa- 
chusetts —  is  a  corner  cupboard 
with  shelves  bearing  the  precious 
and  fragile  weight  of  a  collection 
of  Lowestoft  china.  In  this  room, 
the  walls  are  covered  with  paper 
gay  with  rambling  sprays  of 
flowers,  giving  a  chintz-like  effect 
Hooked  rugs  cover  the  broad 
boards  of  the  floor  across  which 
the  feet  of  Colonial  belles  might 
have  danced  and  pattered  in  times 
gone   by 


Book     of     Interiors 


4  "5 


An  oval  dining  room — the  dream 
of  many  home  builders — requires 
more  than  the  mere  shaping  of 
the  walls.  It  means  good  finish 
An  example  is  found  in  this  din- 
ing room  in  the  summer  home  of 
Dr.  J .  H.  Lancashire  at  Manches- 
ter, Mass.  At  one  end  is  the 
fireplace  surmounted  by  carved 
panels  and  pilasters.  The  walls, 
plain  and  dark,  are  relieved  by  a 
white  molded  ceiling  and  a  deep 
plaster  frieze.  The  chairs  are  up- 
holstered in  tapestry.  A  two-tone 
rug  is  used  on  the  floor.  The 
curtains  are  of  linen  in  gay  colors 


A  notable  feature  in  modern  dv<  - 
oration  is  this  use  of  mirrors  to 
give  a  sense  of  light,  air,  and 
space.  They  are  invaluable  in 
rooms  like  this,  where  all  the 
windows  are  on  one  side  and  the 
light  must  be  taken  up,  reflected, 
and  diffused.  As  befits  a  rather 
small  room,  the  furniture  is  light 
and  slim.  It  is  of  a  green-toned 
tvood,  and  the  screen  is  painted 
after  the  pleasant  French  fashion. 
Glass  curtains  of  rose  silk  soften 
the  light,  and  over  them  are 
hung  draperies  of  rose  and  green 
changeable  taffeta 


46 


//  o  ii  v  r     <r     ( i  u  r den'  ■> 


Into  the  dining 
room  in  the  home 
of  Mr.  Franklin 
Colby,  of  An- 
dover,  N.J.,  have 
been 

introduced  a  Ja- 
cobean hutch  and 
Lancashire  chairs 
that  suit  the  en- 
vironment of 
rough  cast  walls, 
beamed  ceil  inn 
and  large,  old- 
fashioned  n  re- 
place. An  antique 
brass  candle 
chandelier  is  still 
used  in  its  orig- 
inal manner,  ac- 
c e n  tin  g  t  h  e 
qua'.ntness  and 
age  of  the  room 


Early  Georgian 
blue  green  pan- 
eled  wall  are  in 
the  dining  room 
below.  On  the 
stiles  of  t  h  e 
panels  are  placed 
Queen  Anne  mir- 
ror sconces.    The 

ideboard    is    an 
original     A  da  in 
Above  it  hangs  a 

llth  Century 
portrait.  Cur- 
tains and  chat- 
cover  in gs  are 
glazed  r  h  intz 
with  an  orange 
background,  a 
copy  of  an  old 
English  desi^ti. 
Emil  Feffercorn, 
decorator 


Book     of     Interiors 


47 


Delicately  de- 
signed black  lac- 
q  u  e  r  furniture 
against  light 
green  painted 
walls  is  found  in 
the  dining  room 
of  the  New  York 
residence  of  Mr. 
Donald  Tuttle. 
The  curtains  and 
portieres  are 
linen  in  pink  and 
American  Beau- 
ty, edged  with  a 
jade  green  taf- 
feta that  matches 
the  gauze  of  the 
nndercurtains 
and  the  decora- 
tions of  the  fur- 
niture. Agnes 
Foster  Wright, 
decorator 


The  Georgian 
paneled  dining 
room  leaves  very- 
little  to  be  de- 
sired when  the 
workmanship  has 
the  dignity  of 
this.  The  em- 
brasured win- 
dow, the  round 
arch  door,  the 
paneled  fireplace 
with  its  over- 
mantel painting 
make  an  excel- 
lent background 
for  the  furniture, 
which  is  mainly 
American  repro- 
duction of  old 
designs.  Pea- 
body,  Wilson  & 
Brown,  archi- 
tects 


43 


//  o  u  s  f.      <r     ( j  a  r  d  t  n  '  s 


a    lat 

ill:  a 
irtli  . 

Bencht  are 
placed  <a  either 
end.    Hammer- 

,,l    bra       ""'I 

rrjpprr,    U 

i'Ii  i ilil  iron 

com 

l  In     fur 

r  i      ell , 
archil 


Book     of     Interiors 


49 


A  mauve  car- 
pet, blue  paint- 
ed furniture, 
cream  walls 
and  woodwork 
and  curtains  of 
apple  -  blossom 
chintz  make  the 
dining  room  in 
the  New  Jersey 
home  of  Mrs. 
Donald  V . 
Lowe.  Mrs. 
Emott  Buel, 
decorator 


Pale  yellow 
walls,  a  gray 
carpet  and  yel- 
low taffeta  cur- 
tains create  the 
setting  for  the 
simple  -mahog- 
any furniture 
upholstered  in 
black  and  yel- 
low horsehair 
in  this  room. 
John  G.  Ham- 
ilton, decora- 
tor 


50 


//  o  u  a  e     <"r     ( ,  a  r  d  t  n'  s 


Eighteenth  Century  mahogany  is  used  in  this  dignified  dining  room  in 

the  Long  Island  residence  of  Air.  Francis  L.  Hine.     The  walls  are  sojt 

yellow  luith  ivory  woodwork.     Walker  &  Gillette,  architects 


The  popularity  of  the  over-mantel  paneling  set  in  a  dignified  Georgian 

frame  is  evidenced  by  its  identical  use  in  both  these  dining  rooms.   And, 

in  each  instance,  character  is  given  the  walls  by  the  molding  panels 


Book     of     I  nt  eri  o  r  s 


51 


CUPBOARDS  for 
the    CORNER 


The  shell  top  was  a  favor- 
ite device  among  Colonial 
designer),  and  deserves  re- 
production today.  The 
wood  can  be  white  pine  or 
any  other  suitable  for  cab- 
inet work.  It  should  be 
painted  to  match  the  other 
wood  in  the  room.  A  con- 
trasting note  can  be  given 
it  by  painting  the  inside  a 
brilliant  color 


An  interesting  cupboard 
done  in  the  Biedcmeyer 
style  is  found  in  the  home 
of  James  F.  Deering,  Esq.. 
at  Miami.  Florida.  The 
architectural  character  of 
the  well  -  proportioned 
shelves  and  columns  is  par- 
ticularly pleasing.  Paul 
Chalfin,  decorator 


Another  Colonial  type  was 
built  as  a  separate  piece  of 
furniture.  It  was  enriched 
with  architectural  mold- 
ings and  paneled  doors. 
The  top  usually  had  a  door 
with  glass  panes  and  the 
bottom  was  a  cupboard. 
China  went  in  one  part 
and  the  silver   in  another 


52 


If  0  u  S  e     <"r     (J  a  r  d  r  n  '  t 


SU  B  ST  I T  UTES 
for   SIDEBOARDS 

The  Touch  of  Individuality 
in  the  Dining  Room 


(Left)  In  a  large  dining  room  a 
refectory  table  can  be  used  for 
sideboard  or  serving  table.  Here 
it  has  a  background  of  old  Italian 
yellow  brocade  that  sets  off  the 
tall   altar   candles   and  the   silver 


The  substitute  might  be  a  Spanish  antique 

table  with  a  Venetian  mirror  above.     The 

cover  would  be  a  fine  piece  of  altar  lace  or 

a  linen  cover  with  lace  edges 


A  console  can  be  used  for  a  serv- 
ing table.  Here  it  is  of  wrought 
iron  rubbed  with  polychrome  col- 
ors and  with  a  top  of  Sienna  mar- 
ble. G.  Bovard  MacBride,  deco- 
rator 


An  old  Colonial  table,  an  old  brocade  hung 

for  a   background,  a   Colonial  gilt  mirror, 

old  Dutch  paintings  on  either  side.     This 

would  make  an  excellent  substitute 


In  tin  o  idenci  >>'   l/i       idtu     Drew  in  New  Yuri-  <  ity  the  entire  dining  mom  is  furnished  with  wrought  iron.     The  table  is  wrought 

iron,  tin   con  oli     truing  inbif   \hown  above,  and  the  large  console  which  is  used  fur  a  sideboard  during  incut  times,    Lighting  fixtures 

an  iron  on  antique  pit  bracket      Over  the  table  hangs  a  Greek  primitive     a.  Bovard  MacBride,  decorator 


Book     of     I  11  t 


e  r  i  o  r  s 


S3 


HOSPITALITY    AND 

THE 
ENTRANCE     HALL 


54 


//  o  u  s  e     &     G ar den' $ 


A 


COLORFUL      HALL     GROUP 


! ,  ,    ,  ;. ,  ,,,     a    p0l  o)  brilliant  color  or  in  a 

here  •>  colorful  and    imple  -roup  is  desired-, 

..lHi,i  i„    u  "/      The  commode  i    dark  rich 

Uh  Italian  decoration    and  molding    o)  antique  gold 

,/„„/  chait    i  ith  black  broadcloth  pad 

peacock  '<'«<  and  embroidered  In  rich,  dark  colon 


Further  enrichment  is  given  the  group  by  the  flower  paint- 
ing which  hangs  above  the  commode  uu  unusual  but  suc- 
cessful shape  h'l'  Hi"  position,  1  /'"/*'  Chinese  lady  m 
■Minimi  pink  mil/  black,  ami  vases  villi  blut  I.-  mill  green 
futurist  flowers  comprise  Hie  accessories.  The  wall  is  Italian 
pink.    Agnes  Foster  Wright  was  Hie  decorator 


Book     of     Interiors 


55 


HOSPITALITY     AND     THE     ENTRANCE     HALL 


The  Distinction  of  any  Hall  is  Attained  by  Light,  Good  Walls  and  Floors  and 
The  Disposition  of  JT  ell-Chosen  Furniture 


A  HALLWAY  is  an  architectural  hand- 
shake. Its  furnishings  should  therefore 
express  hospitality.  The  entrance  to  the 
house  and  the  hallway  that  lies  behind  it  arc 
the  surest  indications  of  the  sort  of  people  who 
dwell  in  that  house  and  the  sort  of  hospitality 
they  extend.  And  just  as  there  are  different 
kinds  of  people  and  different  kinds  of  hos- 
pitality, so  are  there  different  kinds  of  halls. 
Reduced  to  general  classifications,  these  kinds 
of  halls  fall  into  two  general  groups — hall- 
ways that  are  designed  as  passages  and  hall- 
ways designed  as  reception  rooms. 

In  many  cases  the  hallway  is  merely  a  place 
to  pass  through,  and  it  would  seem  that  the 
architect  and  decorator  have  conspired  to  make 
that  passing  as  dull  and  rapid  as  possible. 
Hallways  without  light,  with  one  or  two  pieces 
of  .-tiff,  uninteresting  furniture,  with  a  shadowy 
stairs  creeping  up  into  dark  infinity — such 
hallways  are  inhospitable,  unkind  to  guests, 
unfair  to  the  occupants  of  the  house. 

The  first  requisite  in  any  hallway,  then,  is 
light — plenty  of  it.  One  should  not  come  from 
the  bright  sunshine  outside  and  go  suddenly 
blind  in  the  darkness  inside.  Fan  lights  above 
the  door,  glass  panels  beside  the  door,  or  in  it, 
windows  on  the  stairs  or  on  a  stairs  landing 
are  possible  solutions  that  should  be  thought 
of  when  the  house  is  planned.  If  the  hall  goes 
the  depth  of  the  house  light  can  be  given  by  a 
panel  in  the  rear  door.  Should  none  of  these 
architectural  changes  be  possible  one  will  have 
to  depend  upon  artificial  lighting. 

THE  hallway  that  is  merely  a  place  to  pass 
through   en   route   to  other   rooms   should 
contain  no  furniture  to  block  that  passing.   One 
should  not  be  required 
to  squeeze  through  the 
hall.       Nor     on     the 
other  hand,  should  the 
furniture  be  so  slight 
as  to   make  the   hall 
uninteresting. 

Above  all  things, 
whether  large  or  small , 
the  hallway  is  not  a 
cloak  room.  The  old- 
fashioned  hatrack  is 
taboo  today.  Provide 
a  closet  for  coats  and 
wraps,  and  insist  that 
they  be  kept  there. 
The  handshake  that 
your  house  extends 
its  guests  should  not 
be  encumbered  with 
cloaks. 

In  the  small  hall 
there  may  be  room — 
and  consequently, 
purpose  —  for  only 
three  pieces  of  furni- 
ture—  a  console  or 
small  table,  a  mirror 
above  it  and  a  chair. 
The  mirror  is  essen- 
tial for  a  fleeting  last 
glimpse.  The  choice 
in  tables  is  legion — 
Colonial  tip  tables, 
wrought  iron  consoles 
with     a    black     glass 


top,  carved  consoles,  etc.  The  mirror  should 
be  in  keeping.  Thus,  if  one  has  a  wrought  iron 
console  with  a  black  glass  top,  the  mirror  frame 
can  be  wrought  iron  with  a  handing  of  black 
glass  around  the  mirror.  A  bowl  of  flowers 
and  a  card  tray  is  all  this  table  need  contain. 

These  may  seem  inhospitable  furnishings, 
yet  in  a  hall  that  one  merely  passes  through  no 
attempt  at  hospitality  need  be  made.  The  hos- 
pitable rooms  are  in  close  proximity. 

The  Colonial  house  or  the  cottage  hallway  af- 
fords other  treatments.  A  Welsh  dresser  may 
be  used,  or  an  old  cabinet  of  interesting  lines, 
or  a  Jacobean  sideboard  or  hutch  or  even  a 
painted  commode,  such  as  shown  in  the  illus- 
tration opposite.  The  use  of  these  will  depend 
entirely  upon  the  space  available. 

It  is  also  the  space  available  which  decides 
whether  the  hall  shall  be  a  passage  or  a  recep- 
tion room.  There  is  a  style  of  country  house 
architecture  which  provides  that  one  shall  come 
directly  from  the  front  door  into  a  big  living 
hall,  which  serves  also  as  living  room.  This 
has  many  disadvantages;  it  affords  the  family 
no  privacy,  and  it  causes  draughts  to  blow 
across  the  room  every  time  the  door  is  opened. 
Some  sort  of  vestibule  at  least  should  be 
provided. 

BUT  where  the  hall  is  large,  then  one  has 
ample  room  to  furnish  it  in  a  generous 
style  as  a  reception  room.  There  may  be  a 
fireplace  in  this  hall.  Upholstered  chairs  can 
be  set  on  either  side  of  the  hearth.  If  a  couch 
is  placed  there  it  should  be  a  small  piece  and 
not  the  kind  one  generally  uses  before  the  fire 
in  a  living  room.  A  wrought  iron  floor  lamp 
can  be  placed  near  one  of  these  chairs,  or  a 


In  a  spacious  hallwa 

behind  it  to  act  as 

bowl  of 


y  one  can  have  a  group  such  as  this — a  Jacobean  sideboard  with  a  rich  tapestry 
foil,  and  antique  Italian  chairs  on  either  side.  Tall  silver  candlesticks  and  a 
flowers  give  their  color  notes.    Brett,  Gray  &  Hartwell,  decorators 


table  with  a  lamp  on  it,  although  it  is  generally 
the  custom  to  restrict  the  hall  lights  to  side 
fixtures  or  the  lantern  that  hangs  in  the  stair 
well. 

Rugs  are  the  best  floor  covering  for  a  hall. 
They  can  be  easily  taken  up  and  cleaned.  The 
floor  itself  may  be  tiled  or  hard  wood  stained 
with  a  dark  finish  and  oiled,  or  any  other 
treatment  that  will  stand  frequent  washing.  If 
the  floor  is  oiled  and  waxed,  one  should  take 
care  that  it  is  not  too  slippery.  An  advisable 
precaution  is  to  have  the  rugs  held  in  place  by- 
snaps  attached  to  the  floor. 

Verdure  and  scenic  papers  seem  to  be  the  fa- 
vorite choices  for  wall  covering;  but  the  pos- 
sible treatments  are  many,  ranging  from  the 
hall  dignified  with  oak  panels  or  panels  made 
with  moldings  and  painted,  to  the  rough  plaster 
tinted  wall.  One  interesting  treatment  is  to 
have  the  walls  paneled  with  molding  and  to 
fill  in  some  of  these  with  Toile  de  joie  or  strips 
of  interesting  paper  antiqued  with  shellac  and 
burnt  umber.  The  architecture  of  the  house 
will  decide  how  the  walls  should  be  treated, 
for  the  hallway  is  the  room  in  which  the  archi- 
tecture is  most  pronounced.  It  may  also  come 
through  the  walls  of  the  living  room,  but  in 
the  hallway  the  walls,  which  always  form  the 
architectural  background  of  a  room,  will  take 
their  note  from  the  architecture  of  the  house. 

WHERE  the  hallway  opens  on  to  the  liv- 
ing room  and  dining  room  by  large 
doors,  it  should  have  some  of  the  color  of  each, 
so  that  the  three  rooms  present  a  harmonious 
scheme.  Small  openings,  however,  do  not  re- 
quire this  color  distribution.  It  is  generally  a 
good  rule  to  remember  in  choosing  the  color 
schemes  for  rooms 
that  the  change  from 
one  to  the  other  should 
not  be  too  abrupt. 

This  applies  to  the 
portieres.  If  the  hall- 
way colors  are  dis- 
tinct from  that  of  the 
other  rooms,  double 
portieres  will  be  de- 
sirable. In  more  mod- 
ern homes  French 
doors  are  being  used 
between  the  hall  and 
its  adjoining  rooms 
and  the  problem  is 
easily  solved,  if  one 
wants  to  curtain  the 
doors,  by  using  net, 
gauze  or  lace  against 
the  glass.  This  cur- 
taining, of  course,  will 
be  of  the  same  fabric 
as  used  on  the  side 
panels  or  fan  light 
over  the  door. 

The  final  rule  for 
all  hallways,  however, 
is  to  have  plenty  of 
light,  and  where  an 
abundance  of  light  is 
not  possible,  to  keep 
the  walls  and  hang- 
ings of  a  cheerful 
color  that  gives  the 
semblance  of  light. 


56 


House     &     Garden's 


Light  stained  oak  is  used  in 
the  hallway  and  stairs  of  the 
C.  F.  T.  Seaverns  home  at 
Hartford,  Conn.  It  affords  a 
dignified  background  for  the 
antique  chest  and  chairs  and 
the  dull  gold  fixtures.  This 
hallway  also  shows  the  proper 
placing  of  Oriental  rugs,  which 
are  laid  in  parallel  lines 


The  arched  doorways  of  the 
paneled  hallway  give  a  desir- 
able openness  to  the  first  floor 
and  afford  ample  light  for  a 
proper  appreciation  of  the 
architectural  detail.  The  plac- 
ing of  the  stairs,  the  turned 
balusters  and  curved  newel 
are  interesting.  Goodwin,  Bul- 
lard  &  Woolsev,  architects 


Book     of     Interiors 


57 


Black  and  white  marble  and  iron 
painted  polychrome  have  been  suc- 
cessfully used  in  this  hall  oj  the  A.  K. 
Wampole  residence  in  Baltimore.  The 
niche  with  its  fountains  and  the  con- 
sole shelf  are  interesting  features. 
Mott   Schmidt,  architect 


(Center  below)  Old  Venetian  irons 
fastened  to  the  stair  wall  and  con- 
nected with  cords  and  tassels  serve  to 
enrich  this  narrow  stairway  in  a  New 
England  home  and  lift  it  from  its 
commonplace  atmosphere.  Lee  Por- 
ter, decorator 


The  Wampole 
stairs  shown  above 
curve  upward 
gracefully.  There 
is  a  pleasing  sweep 
to  the  rails  and 
the  decorative  iron 
spindles  are  color- 
ful and  unusual 


Taken  from  an  old 
home,  these  richly 
carved  banisters 
have  been  placed 
in  the  home  of 
Mr.  Arthur  Little, 
at  Wenham,  Mass. 
Little  &  Brown, 
architects 


Where  the  hallway 
is  large  and  plays 
the  role  of  a  re- 
ception room,  the 
stairs  can  be  wide 
and  should  be  giv- 
en ample  approach. 
W.  Stanwood  Phil- 
lips, architect 


58 


House     &     G arden' $ 


HALL 
TREATMENTS 


An  upper  hall  shows  simplicity  in  iron 
balustrade  and  lantern  fixture.  Residence 
of  Mr.  Bertram  G.  Work.  Oyster  Bay,  L.  I. 

A  view  from  the  hallway  to 

the    living    room    shows    an 

interesting    fixture    of    black 

iron  in  a  fish  design 


The   iron    balustrade   shows   an  interesting 

dolphin  motif.     The  fixture  is  star-shaped. 

Denalo    &   Aldrich,   architects 


A    harmonious    combination 

of  crimson  and  deep  yellow 

makes    the    living    room     a 

cheerful  place 


59 


B o o h     of     Interi o r 


60 


//  o  u  s  e     &     Garden'  $ 


In  the  boudoir  the  dressing 
table  is  naturally  given  thr 
place  of  honor.  It  should 
also  have  a  place  full  of  light, 
preferably  in  a  bay  window 
or  close  by  a  window.  In  this 
instance  ample  light  falls  from 
both  sides.  The  antique  rose 
taffeta  curtains  with  their 
quaint  frills  and  tie-backs 
make  a  delightful  background 
for  the  dressing  table  on  which 
stand  Wedgwood  lamps  with 
pink  taffeta  shades  edged  with 
silver  tissue.  Frederick  Loeser 
&   Co.,   decorators 


Black  lacquer  furniture,  walls 
covered  in  a  gay  Chinese  de- 
sign of  birds  and  flowers  and 
curtains,  some  pale  yellow 
edged  with  green  and  some 
orange  and  green,  make  an  in- 
teresting bedroom  in  the  resi- 
dence of  Mr.  Joseph  Thomas 
at  Middleburg,  Va.  The  bed 
is  an  old  jour-poster  with  an 
unusual  top  draping.  Behind 
it  is  an  alcove,  down  each  side 
of  which  are  book  shelves. 
The  ceiling  in  this  alcove  is 
made  up  of  small  mirrors  in 
panels 


Book     of     Interiors 


61 


THE      INTIMATE      BEDROOM 


Four  General  Groups  of  Furniture  Comprise  the  Equipment  of  a 
Bedroom  Whether  It  Be  Large  or  Small 


BECAUSE  they  are  the-  most  intimate, 
most  personal  rooms  in  the  house,  the 
bedroom  and  boudoir  should  come 
closest  to  expressing  the  personality  of  the  per- 
son who  occupies  them. 

This  expression  of  personality  might  seem 
to  apply  to  even-  room  in  the  house.  In  a 
way  it  does.  No  room  should  look  as  though 
the  decorator  had  just  moved  out.  That  pleas- 
ant atmosphere  of  having  been  lived  in,  which 
is  the  desideratum  for  every  room,  is  accom- 
plished by  the  use  of  personal  and  intimate  ac- 
cessories and  belongings,  and  it  is  logical  to 
suppose  that  these  will  not  be  scattered  about 
the  house  in  an  indiscriminate  fashion. 

However  small,  the  furnishings  of  any  bed- 
room fall  into  four  general  groups.  By  keep- 
ing these  in  mind  the  decoration  will  be  a 
simple  matter. 

The  first  group  might  be  called  the  sleeping 
corner — -the  bed  or  beds  with  their  adjacent 
night  stand  and  its  lamp.  Twin  beds  are  pre- 
ferable to  a  double  bed  shared  by  two,  however 
much  old-fashioned  prejudice  may  be  against 
them.  And  however  much  old-fashioned  ad- 
vice may  warn  against  reading  in  bed,  the  habit 
is  conducive  to  sleep — if  one  chooses  the  right 
books.  This  is  one  argument  for  the  lamp; 
the  more  obvious  argument,  of  course,  is  its  con- 
venience. 

The  second  bedroom  group  consists  of  the 
bureau,  chifferole  or  dressing  table.  In  rooms 
provided  with  modern  built-in  clothes  closets 
the  bureau  is  really  not  required.  Such  closets 
provide  trays  for  shirts  and  collars  and  blouses 
and  underwear  and  all  the  other  things  one 
ordinarily  keeps  in  bureau  drawers.  With  the 
bureau  eliminated  more  space  is  given  the  room 
and  a  dressing  table  can  be  placed  there. 

THIS  is  not  intended  as  a  defense  of  vanity 
but  it  is  a  fact  I  believe  (writing  from  the 
observation  of  an  ancient  married  man!)  that 
if  the  choice  came  be- 
tween built-in  closets 
and  a  bureau,  the  aver- 
age woman  would 
choose  the  closets  when 
she  was  promised  a 
dressing  table  to  take 
the  bureau's  place.  Of 
course  she  must  have 
some  place  to  lay  away 
her  clothes;  that  is  im- 
perative. But  it  is  just 
as  imperative  that  she 
have  a  corner  where  she 
can  pretty  herself.  Men 
may  be  able  to  dress 
without  a  mirror,  but  a 
mirror  is  a  sine,  qua 
non  in  a  woman's  life. 
And  if  you  can  provide 
her  with  a  triplicate 
mirror  that  shows  all 
sides,  a  dainty  table 
whereon  she  can  lay  out 
her  brushes  and  combs, 
and  a  drawer  to  keep 
her  cosmetics  in,  a  big 
problem  of  married  life 
will  be  solved. 

The  third  group  con- 
sists of  a  writing  desk 


and  its  attendant  chair.  This  may  seem  the  sort 
of  furniture  that  would  go  into  a  living  room. 
The  living  room  secretary,  however,  is  a  pub- 
lic sort  of  desk,  whereas  the  boudoir  desk  is 
private.  Behind  this  distinction  lies  a  fact 
that  we  should  not  forget.  Every  individual 
in  the  world,  even  the  closest  and  most  happily 
married,  should  demand  and  be  given  a  meas- 
ure of  privacy.  Men  may  not  feel  this  as  much 
as  women,  for  men  go  in  packs,  like  wolves, 
but  woman  is  the  eternal  free  ranger.  Respect 
that  fact  by  providing  a  desk  in  the  bedroom 
or  boudoir. 

THE  ideal  master's  suite,  as  the  architects 
call  it,  consists'  of  the  bedroom,  sleep- 
ing porch,  dressing  room  and  bath,  with, 
possibly,  a  boudoir  or  morning  room  adjoining. 
Since  sleeping  out  of  doors  has  attained  the 
popularity  it  deserves,  the  bedroom  is  being 
made  smaller,  as  it  is  used  only  in  the  coldest 
weather  or  as  a  dressing  room.  Where  this 
arrangement  obtains  one  may  have  a  small  bed- 
room or  dressing  room  in  conjunction  with  the 
bath  and  an  extended  boudoir  which  can  also 
serve  for  morning  room. 

With  such  space  available  there  is  no  limit 
to  the  possibilities  of  decoration.  The  boudoir 
can  be  made  distinct  from  the  bedroom  by  its 
furnishings  and  functions.  Perhaps  the  bed- 
room would  have  only  the  necessary  furniture 
of  beds,  night  stand  and  chairs.  The  boudoir, 
then,  would  contain  the  other  pieces  of  equip- 
ment. 

We  have  still  to  mention  the  fourth  group 
that  completes  the  bedroom's  furnishing.  A 
chaise  longue  with  a  small  table  beside  it  and 
a  lamp  on  the  table  or  a  standing  lamp  in  close 
proximity  afford  a  place  where  one  can  rest 
and  nap  without  disturbing  the  beds.  This 
should  be  included  by  all  means  where  space 
permits.  This  is  also  an  essential  part  of  the 
equipment  of  any  boudoir.     Add  to  it  straight 


Champagne  color  silk  curtains  and  valance  fringed  with  blue,  an   18th  Century  Italian  cabinet,  a 

draped  dressing   table  and  large   mirror,  an    18th   Century   Italian   window  seat  for  bench  and  a 

comfortable  upholstered  couch  are  features  of  this  bedroom,  decorated  by  Miss  Gheen 


chairs,  an  upholstered  slipper  chair,  and  one 
upholstered  easy  chair,  and  the  furniture  for 
the  bedroom  may  be  considered  as  complete. 
In  no  other  room  of  the  house  have  colors 
such  a  free  gamut  as  in  the  bedroom,  and  by 
that  same  token  in  no  room  should  one  be  more 
careful  in  the  selection  of  the  colors  used. 
Choose  tones  that  soothe — grays,  ivories,  the 
palest  of  blues,  yellows  and  cream.  Brilliant 
color  can  be  found  in  the  curtains  and  in  the 
bedspreads,  which  generally  are  made  to  match. 
The  floor  covering  can  be  carpeting  with  rugs 
laid  over  it — old-fashioned  hooked  rugs  or 
some  of  the  interesting  current  weaves.  The 
occasional  rug  placed  on  an  oiled  floor  is  not 
advisable  in  bedrooms  except  in  country  houses. 
Take  into  account  floor  drafts  and  that  uncom- 
fortable chill  one  gets  when  she  puts  an  unslip- 
pered  foot  down  on  a  cold  wooden  floor.  Hence 
the  all-over  carpeting  for  the  bedroom.  If  a 
rug  is  chosen — and  there  is  a  great  variety  to 
choose  from — buy  a  big  rug  and  leave  only  a 
narrow  margin  of  the  floor  uncovered. 

PAPER  is  the  most  inexpensive  treatment 
for  bedroom  walls.  Use  a  small  patterned 
paper  and  firmly  refuse  the  cut-out  frieze. 
Have  the  walls  quiet  and  unobtrusive,  keeping 
the  pattern  and  color  in  the  room  restricted 
to  the  hangings,  bedspreads  and  accessories. 
Paint  is  the  next  in  the  list — either  a  flat  tone 
or  an  antiqued  finish  or  panels  painted  on  the 
plaster. 

As  the  woman  is  the  mistress  of  this  room 
its  general  character  will  .be  dainty,  that  is, 
feminine  without  being  effeminate.  The  glas-- 
curtains  can  be  of  the  sheerest  gauze,  or  net  or 
dotted  Swiss;  the  drapery  of  the  dressing  table 
will  repeat  this  treatment.  Pillows  of  lingerie 
and  taffeta  in  abundance  on  bed  and  chaise 
longue  add  the  feminine  touch.  Lampshades 
should  also  enrich  this  feminine  atmosphere, 
and  they  can  be  made  up  into  all  kinds  of 
shapes  with  intriguing 
ruffles  that  take  tone 
from  the  color  of  the 
lamp  base. 

How  elaborate  these 
rooms  will  be  depends 
entirely  upon  the  purse 
and  the  personality  of 
the  woman.  Her  sense 
of  orderliness  will  pre- 
vent them  from  being 
cluttered  with  useless 
and  silly  gewgaws, 
although,  if  she  wants 
them  that  way,  here  are 
the  rooms  where  she 
can  indulge  that  weak- 
ness to  her  heart's  con- 
tent. 

But,  after  all,  order 
is  decoration's  first  law, 
and  it  is  the  first  law  in 
most  households.  With- 
out it  comfort,  livable- 
ness  and  elegance  can- 
not exist.  The  bedroom 
and  boudoir  are  no 
exception.  Only  the 
necessary  furnishings 
should  be  used  even  in 
these    intimate    rooms. 


62 


//  o  it  s  e     &     G  <i  r  d  <■  n  ' 


Ivory  furniture  antiqued  with  an  old  blue 
glazing  has  been  used  in  this  boudoir. 
The  overcurtains  are  cream  chintz  with 
a  rose  and  blue  design ;  the  under- 
curtains  rose  gauze.  On  the  painted  chair 
is  a   blue   taffeta  slip-cover 


(Left)  With  its  blue-fringed  covering  of 
rose  taffeta  and  its  ivory  lined  canopy  of 
rose  taffeta  with  an  applique  of  the  chintz 
design,  the  bed,  a  replica  of  the  state  bed 
at  the  Musce  Borily,  makes  a  delightful 
feature  of  a  charming  room 


(Below)  Perhaps  the  most  inviting  cor- 
ner of  this  bedroom  is  the  flower-filled 
window  hung  with  rose  curtains,  where 
the  light  glows  on  the  changeable  rose 
taffeta  covering  of  the  chaise  longue  and 
the  soft  taffeta   cushions  in  varied  tones 


The  boudoir  off  this  bedroom  has  a 
graceful  walnut  sofa  upholstered  in  old 
blue  satin.  An  antique  walnut  and  gold 
Empire  table  stands  close  by.  Crystal 
brackets  flank  the  Italian  landscape.  Mrs. 
A.  Van  R.  Barnewall  was  the  decoratoi 


Book     of     Interiors 


63 


The  colors  in  this  room  were  suggested  by  the  colors  in  the  parrot 
panel  over  the  mantel,  which  is  embroidered  in  different  shades  of 
mauve,  red  and  green  The  English  chintz  has  a  design  of  red  and 
mauve  flowers  on  a  black  and  tan  ground.  A  Chinese  rug  before  the 
fireplace  also  recalls  these  colors.   Miss  Gheen,  decorator 


Another  view  of  the  same  bedroom  shows  the  interesting  use  of 
several  colors  in  the  furniture.  The  bed  and  the  bureau  are  in  green 
lacquer,  while  the  chiffonier  is  in  scarlet  lacquer.  The  small  dressing- 
table  is  an  old  mahogany  piece  bearing  a  triple  mirror.  All  of  these 
are  well  grouped  against  a  background  of  cream  paneled  walls 


64 


//  o  u  v  k    <*r    Garden's 


Because  of  the  range  of  colors  painted  furniture  lends  itself  to 
bedroom  use.  The  doors  and  furniture  in  the  bedroom  above  are 
delicate  blue-green.  Pompeian  panels  add  a  note  of  airy  lightness, 
which  is  further  carried  out  by  pale  cream  walls,  a  mauve  carpet 
and  glazed  chintz  bedspreads.     Harry  Allen  Jacobs,  architect 


Behind  didl  mahogany  furniture  are  pale  fawn  walls,  with  antique 
rose  taffeta  at  the  windows  and  for  curtains.  A  line  of  mauve  is 
in  the  under -curtains.  The  carpet  is  mauve,  the  small  satin  chair 
apple  green  and  the  glazed  chintz  screen  a  combination  of  all  the 
colors  in  the  bedroom  below.    Frederick  Loeser  &  Co.,  decorators 


Book     of     Interiors 


65 


At  the  top  and  bottom 
of  this  page  are  two 
views  of  the  master's 
bedroom  in  the  residence 
of  Mr.  William  E.  Davis 
at  New  Haven,  Conn. 
The  walls  are  paneled 
and  painted  gray .  A  gray 
rug  is  in  harmony  with 
this  quiet  and  dignified 
color  scheme 


In  the  home  of  Mr. 
Preston  Bigelow,  Fitz- 
william,  N.  H.,  are  two 
interesting  Colonial  bed- 
rooms. This  example, 
with  the  tall  four-poster 
bed,  is  dignified  in  its 
simplicity.  The  mirror, 
picture  and  cradle  are  in 
period 


The  glass  curtains  in  the 
Davis  master's  bedroom 
are  of  Swiss,  the  hang- 
ings of  a  rose  shade  that 
harmonizes  with  the 
French  gray  of  the  walls, 
rug  and  furniture.  The 
lampshades  are  of  French 
rose  silk.  Charles  Fred- 
erick Townsend,  architect 


A  small  patterned  paper, 
rag  mats  on  a  painted 
floor,  a  low  four-poster 
with  its  attendant  rush- 
bottom  chair,  an  old  writ- 
ing desk  and  washstand 
combine  to  establish  the 
Colonial  atmosphere 
ivkich  strnnglv  character- 
izes this  bedroom 


00 


//  o  it  s  e     '"?     G  a  r  <l  c  n  ' 


Here  is  the  attic  as  the 
decorator  first  saw  it — a 
heap  of  trunks  and  dilapi- 
dated fragments  of  dis- 
carded rooms  that  used  to 
be.  Yet  a  relatively  small 
outlay,  added  to  vision, 
transformed  this  forlorn 
garret  into  a  group  of 
•  aling  guest  rooms. 
They  are  in  the  Philadel- 
phia home  of  Mr.  Edward 
.S.  Slote'.bury.  Mrs.  Grace 
Wood,  decorator 


At  the  other  end  of  tin  big 
room  pictured  at  the  top 

of  th<  i  i    the  i 

dull   black    and    '/old   twin 

i 

Handing  on  a  rug  woven 

in  the   "dor     of  I  lit-  room 

On  either    ide  on-  tall  nar 

bh  •  I      that     were 

\ned   to   fit 

the   whimsical   proportion. 

of  thi-  hit  of  old  Prance 

under  the  raves 


Book     of     Interior  s 


67 


In  the  three  views  of  the  room  on  this  page,  trees  belonging  to  an 
Italian  landscape  paper  in  tones  of  blue  and  rose  on  a  white  ground 
climb  up  from  a  while  trellised  baseboard  to  lean  out  from  the  slant- 
ing walls  and  peer  into  the  fascinating  recess  which  houses  a  really 
decorative  radiator.  Where  the  paper  reaches  the  top  end  of  its  roll, 
paint   of  the  same  shade   takes  its   place   over  the  rest   of  the  ceiling 


ATTIC     GUEST     ROOMS 


The  furniture  for  this  de- 
lightful and  unexpected 
room  was  inspired  by  a 
lovely  Italian  chair,  painted 
blue  with  white  and  gold 
decorations.  The  furniture 
covering  is  blue  linen,  piped 
with  black,  and  the  same 
color  scheme  has  been  car- 
ried out  in  the  bedspreads 
seen  in  the  picture  of  the 
room  shown  at  the  top  of 
the 


A  special  feature  of  all 
these  rooms  presenting  a 
difficult  problem  was  that 
no  two  walls  or  heights  of 
ceiling  were  the  same.  The 
'andscape  papers  lent  them- 
selves with  great  and  cheer- 
ful adaptability  to  these 
architectural  vagaries,  and 
their  irregularities  gave  the 
walls  unusual  charm.  The 
recesses  also  suggested  in- 
teresting grouping 


6S 


//  o  it    e     <r     Garden's 


A  lacquer  and  cane  day-bed  to  match 
the  bedroom  suite  makes  a  pleasing 
combination.  In  fact,  the  day-bed  has 
become  almost  as  necessary  as  the  bed 
itself.  It  is  an  aid  to  comfort  and,  with 
its  colored  taffeta  upholstery  and  lin- 
gerie cushions,  can  be  made  one  of  the 
most  delightful  spots  in  the  room. 
Chamberlain  Dodds.  decoratoi 


If  one  has  a  boudoir  end  in 
a  bedroom,  the  day-bed  can 
be  placed  there.  Piled  high 
with  vari-colored  pillows  it 
makes  an  attractively  in- 
formal treatment.  The  day- 
bed  can  be  in  mahogany  or 
any  of  the  wood  finishes,  or 
in  a  paint  finish  to  match 
the  general  color  scheme  of 
the  room 


The  dressing  table  is  a  very  important  fac- 
tor in  the  bedroom  and  boudoir,  and  con- 
sequently requires  an  interesting  treatment. 
This  little  dressing  table  is  daintily  draped 
in  dotted  Swiss  with  a  mauve  fringe  and 
edging.  The  mirror  has  the  same  edging. 
A  little  low-back  chair  covered  in  glazed 
chintz  and  a  colorful  hooked  rug  completes. 
Agnes  Foster  Wright,  decorator 


.!  soft  rajah  silk  in  yellow  and  old  blue  has 
been  used  effectively  on  this  charming  bou- 
doir day-bed,  which  is  painted  and  antiqued 
to  match  the  color  scheme  of  the  room. 
On  it  are  placed  interesting  pillows  in  har- 
monious colors,  that  have  taken  their  tints 
from  the  simple,  small  patterned  fabric 
which  is  used  for  curtains  and  valance. 
Decorations   by  Lee  Porter 


Book     of     Interiors 


69 


PORCHES 
THE      YEAR      ROUND 


,,JjiA"! 


70 


II  o  u  s  c.      <r     G  a  r  1 1  en's 


Rough  gray  plaster  'walls,  a  tiled  floor  and  arch  d 
doorways  repeating  the  entrance  arches  form  the 
background  for  the  furnishing  on  this  porch  in  the 
residence  of  Mr.  Charles  H.  Sabin,  at  Southampton 
L.  I.    Cross  &  Cross  were  the  architects 


The  loggia  in  a  city  house  can  be  given  country 
aspects,  as  witness  this  room  below.  White  walls,  a 
coved  ceiling,  simple  pilasters  and  glass  doors  are 
some  of  its  architectural  features.  The  furniture  is 
wood  and  reed.    Bigelow  &  Wadsworth,  architects 


Book     of    Interior 


71 


PORCHES 


THE 


YEAR 


ROUND 


Changed  According  to  the  Season,  the  Porch  Can  Be  Made  ihe  Most 
Lived  In  Room  of  the  House 


was  deserted 
barren   place 


A  FEW  years  ago  the  porch 
all  the  winter  through,  a 
for  the  dried  leaves  to  rustle  about  in.  Today 
it  has  come  into  its  own.  We  eat,  sleep,  play 
and  almost  live  entirely  in  our  porches.  I  say 
"in"  instead  of  "on",  because  they  are  enclosed 
by  glass  doors  and  windows  and  serve  as  an 
extra   room. 

One  particularly  good  use  for  the  enclosed 
porch,  one  to  which  it  much  more  frequently 
could  be  turned,  is  for  a  breakfast  room.  What 
an  antidote  to  the  morning  grouch  it  is  to 
breakfast  in  a  sunny,  gay  porch  with  bright 
chintz  shades  and  soft  painted  furniture  and 
with  a  tiny  wood  blaze  on  the  hearth  to  take 
away  that  frosty  feeling  in  the  air.  Only  a 
little  porch  is  required  to  accommodate  break- 
fast room  furniture.  If  the  size  or  shape  does 
not  permit  of  the  regulation  table  and  chairs, 
then  use  an  oblong  table  and  benches  for  the 
long  sides  and  two  comfortable  Windsor  chairs 
at  either  end,  so  that  the  pater  and  mater 
familias  will  not  heap  upon  us  the  accusation 
of  being  either  fresh  air  fiends  or  over-artistic 
at  the  price  of  comfort. 

If  we  are  an  adept  at  growing  plants,  then 
have  the  carpenter  build  up  simple  lattices 
around  the  windows.  A  handy  man  can  buy 
the  laths  and  nail  them  up  into  a  lattice.  All 
they  need  then  is  a  coat  of  paint.  At  the 
window-sill  plant  ivies  in  boxes  and  train  the 
ivy  up  the  lattice.  If  we  are  not  altogether 
successful  at  plant  coaxing,  an  excellent  imita- 
tion ivy  comes  in  painted  tin. 

For  curtains  we  can  use  either  striped  yellow 
and  white  glazed  chintz  shades,  which  are  at 
once  inexpensive  and  charming,  or  we  can  u;e 
two  pairs  of  sash  cur- 
tains at  each  window, 
in  either  sunfast  or 
gauze.  These  might 
be  edged  at  the  bot- 
tom with  a  puffy  little 
three  colored  worsted 
fringe.  The  win- 
dow curtains  should 
be  so  arranged  as  to 
shut  out  the  strong 
top  light  either  by  the 
use  of  a  shade  which 
can  be  drawn  or  by  a 
set  of  sash  curtains 
which  may  be  pulled 
across  the  top  and  left 
open  at  the  bottom. 

On  the  floor  use  a 
rush  rug,  or  else  paint 
the  floor  to  simulate 
tiles.  If  the  floor  has 
been  laid  with  open 
boarding,  then,  to  in- 
sure it  not  being 
drafty,  lay  linoleum. 
Block  it  off  in  dia- 
monds —  and  oversee 
the  painter  while  he 
paints  it  to  imitate  a 
black  and  green  tile 
floor.  This  is  a  rich 
foundation  for  furni- 
ture in  oak  or  walnut, 
in  Italian,  English  or 
Spanish  style.  Of 
course,  the  floor  mav 


simply  be  outlined  with  grayish  white  or  black 
lines  or,  if  a  reddish  linoleum  has  been  se- 
lected, a  tile  pattern  will  add  considerably  to 
the  appearance  of  the  room. 


W22 


painted  furniture  an  attractive 
scheme  would  be  to  paint  the  table 
and  chairs  blue — a  rather  neutral  grayish  blue 
— and  stripe  on  bands  of  yellow  with  a  tiny 
line  of  purple  on  each  side  of  it.  The  back- 
ground of  the  room — walls,  lattice,  etc. — had 
best  be  a  neutral  warm  gray.  The  curtains 
should  be  of  gauze  of  the  clear  yellow  used  on 
the  furniture,  edged  with  a  worsted  fringe  of 
blue,  yellow  and  lavender,  all  in  soft  clear 
tones.  A  bowl  of  deep  purple  pottery  would 
be  a  center  table  decoration,  supplying  the  deep 
note  required  to  give  character  to  the  room. 

This  scheme  could  also  be  used  for  a  living 
porch  with  the  addition  of  some  wicker  furni- 
ture and  perhaps  a  torchere  or  side  lighting 
fixture  of  wrought  iron.  I  should  advise  using 
a  plain  toned  or  striped  fabric  on  the  wicker 
furniture,  rather  than  a  cretonne  of  figured 
design.  This  would  bring  out  variations  of 
color  in  the  furniture  and  hangings,  and,  since 
lattice  is  used  and  lattice  itself  is  rather  "cut 
up,"  a  figured  cretonne  would  prove  too  dis- 
tracting. 

A  porch  which  in  summer  is  open  from  the 
top  to  the  floor  but  which  has  posts  at  intervals, 
should  be  enclosed  for  the  winter  with  a  lower 
wooden  sash  instead  of  glass  all  the  way  up. 
Glass  attracts  and  transmits  cold;  therefore  a 
wooden  base  not  only  looks  but  is  warmer. 
This  base  may  be  made  in  panels  of  double 
thickness  bolted   into  the  posts  and   floor  for 


IPIIII  illlili 
lllflll  I11IHI 

■■■■■■  ■■■     A 

F  '.   ■" 
■J*  ".?     i 


Suitable  for  an  Italian  porch  are  the  carved  chairs  with  cypress  tree  backs 
lounging  chair  and  stool  are  covered  in  black  sateen  with  a  band  of  Venetia 
A  soft  curtain  of  linen  gauze  is  behind  the  lattice.    From  the  home  of  Mr 

N.  Y.    Agnes  Foster  Wright,  decorator 


the  winter  and  removed  in  summer.  In  order 
to  insure  further  against  cold  these  panels  may 
be  covered  with  canvas  and  painted. 

If  a  summer  porch  is  to  be  converted  into 
and  used  primarily  as  a  winter  living  room, 
summery  furniture  should  not  predominate. 
The  winter  porch  living  room  must  neither  par- 
take too  much  of  the  dining  room  nor  too 
much  of  the  porch.  There  are  now  on  the 
market  some  wonderful  pieces  of  furniture  that 
seem  admirably  suited  to  the  purely  winter  use 
of  the  porch.  There  are  comfortable  chairs, 
semi-formal  tables  and  accessories  galore.  One 
expects  something  new  in  a  porch  room. 

MANY  people  have  a  distinct  prejudice 
against  painted  furniture,  and  we  must 
be  prepared  to  furnish  the  winter  porch  with- 
out it.  Also  there  are  those  who  prefer  painted 
furniture  for  summer,  but  not  for  winter.  In 
either  case  we  must  fall  back  upon  the  natural 
wood  finishes  and  get  our  warm  notes  in  the 
upholstery,  the  curtains  or  the  walls  them- 
selves. It  seems  to  me  that  the  latter  have  not 
been  sufficiently  developed.  For  instance,  why 
cannot  the  walls  have  a  very  warm,  neutral 
orange  tint,  a  color  so  wonderfully  reminiscent 
of  Tuscany?  Or,  we  might  use  its  color  com- 
plement, blue  green.  Over  this  background 
the  walls  could  be  decorated  with  flat,  simply 
stenciled  patterns  in  the  same  feeling  as  the 
color  of  the  walls.  Or,  the  walls  can  be  divided 
into  panels  and  in  the  top  of  each  could  be 
painted  arabesques  in  blues,  black,  yellows 
and  Pompeian  red.  Art  students  could  be 
found  whose  training  was  sufficient  for  them 
to  execute  water  tint  designs  of  this  character. 
Again,  a  frieze  in 
simply  striking  design 
might  successfully  be 
applied.  The  one 
requisite  is  that  the 
design  have  the  char- 
acteristics that  are  to 
be  carried  out  in  the 
furnishing. 


FOR  furniture 
there  comes  a  set 
of  interesting  Spanish 
pieces.  The  design  is 
very  simple.  The 
wood  is  walnut 
stained  very  dark, 
and  the  chair  splats 
and  all  the  turnings 
have  a  half  inch  band 
of  antiqued  gold. 
The  seats  are  rush. 
The  armchair  is  very 
comfortable,  as  is  the 
double  seat — a  long 
bench  with  side  arms, 
but  not  back,  de- 
signed to  stand  in 
front  of  the  fireplace. 
This  set  also  includes 
a  36"  square  table 
which  can  serve  for 
tea  and  coffee.  Wick- 
er seems  too  coarse 
and  too  summery  to 
use  with  such  a  set, 
yet  there  comes  a  very 


The  large  comfortable 
n  red  and  coffee  color. 
Richard  Forrest,  Rye, 


12 


II  o  u  •  r      &      G  a  r  d  e  It  '  ■> 


Wrought  iron  and  painted 
furniture  plays  an  impor- 
tant role  in  this  breakfast 
porch  in  the  Denver  home 
of  Mr.  William  Pelriken. 
The  refectory  table,  chair: 
and  stool  are  in  the  Italian 
manner,  painted  a  yellow 
ivory  with  decoration*,  in 
red  and  black.  The  brick 
walls  are  painted  a  soft 
gray  which  makes  a  good 
background  for  the 
wrought  iron  trellis.  Iron 
floor  lamps,  interesting 
wall  baskets  and  a  floor  of 
black  and  white  complete 
the  picture.  Mrs.  A.  Van 
R.   Barnewall,  decorator 


Orange  and  light  green  are 
the  colors  used  in  this  en- 
closed country  porch. 
Cushions  and  valance  are 
of  a  rich  green,  orange  and 
gray  linen,  with  a  worsted 
block  fringe  of  these  col- 
ors. At  the  windows  hang 
linen  gauze  curtains  edged 
with  the  same  fringe.  On 
the  red  tiled  floor  is  used 
a  large  oval  fibre  mat. 
Furniture  is  wrought  iron 
and  Swiss  reed  enameled  a 
clear  light  green.  The  long 
table  is  painted  orange  and 
green  antiqued.  Agnes 
Foster  Wright,  decorator 


Book     of     Interiors 


73 


closely,  evenly  woven  wicker  which,  wlien 
upholstered  in  a  fairly  formal  material  such 
as  a  broad  mercerized  silk  stripe  or  a  linen 
moire,  would  he  excellent.  The  curtains, 
made  up  simply,  might  he  of  the  same  ma- 
terial. 

Then,  to  key  up  the  room,  use  wrought 
iron  antiqued  with  gold  and  touched  up  with 
a  suggestion  of  the  color  found  in  the 
drapery.  There  could  be  a  console  table  of 
wrought  iron  in  excellent  workmanship,  with 
a  top  of  black  glass  I3/2"  thick.  A  mirror 
with  a  wrought  iron  frame,  a  gem,  comes 
with  a  panel  of  black  glass  on  either  side 
of  the  mirror.  A  plant  stand,  5'  high,  is  also 
of  wrought  iron  touched  with  gold.  Around 
this  could  be  grouped  plants  in  Spanish  or 
Italian  pottery  jardinieres.  There  would  be 
several  low  tables  and  benches. 

A  porch  that  has  a  beautiful,  near-garden 
view  should  have  plain  tone,  almost  color- 
less curtains.  One's  eye  should  not  be 
caught  by  a  multitude  of  color  in  the  cur- 
tains but  by  the  play  of  color  in  the  garden 
beyond.  In  the  mountains  or  by  the  sea  a 
flowered  cretonne  seems  more  in  place.  The 
more  distant  view  is  not  obstructed  by  the 
gayness  of  the  curtain.  For  most  porches 
it  is  safer,  on  the  whole,  to  use  a  plain 
window  drapery  and  figured  upholstery. 
Flowered,  glazed  chintz  roller  shades,  pulled 
up  high  enough  not  to  interfere  with  the 
view  and  giving  a  rich  touch  of  color  by  day 
and  night,  are  cheerful  and  decorative. 
Plain  draperies   should    be   used   with   these 

shades. 

Plain  colored  linen  has  many  good  quali- 
ties for  cushion  covers  on  all  sorts  of  porch 
furniture.      Made   as  slip  covers,   it  can  be 

laundered,  and,  in  these  days  of  soap  dyes, 

can  always  be  kept  in  fresh  color.     Arcund 

the  edge  use  a  little  fringe  of  a 

darker  tone,  which  is  not  changed 

by  the  soap  dye.     The  line  of 

50"  upholstery  goods,  which  cuts 

to  advantage  for  pillows,  comes 

in  regular  upholster}'  shades  of 

soft   colors.      When   this   plain 

fabric  is  used  for  covers,  inter- 
mingle with  it  cushions  of  dif- 
ferent tones — say   a  deep  pink 

toning   to   orange    and    a    cool, 

greenish  brown,  or  a  nattier  blue 

and  orchid  color,  or  a  sea  green 

and  vermillion. 

Monk's  cloth  can  be  dyed  and 

corded  with  a  deep  pile  cotton 

velvet.  It  is  serviceable  for  up- 
holstery and  pillows  also  can  be 

made  of  it.     Dye  it  orange  and 

cord  with  blue-green  velvet,   or 

peacock    blue    and    cord    with 

tobacco  brown.    The  velvet  edge 

should  be  of  a  sufficiently  dark 

color  so  as  not  to  show  the  dirt. 

With  this  plain  fabric  use  either 

the  figured  roller  shade  of  chintz 

or  decorated  holland. 


Arched  windows  form  a  good 
ground  for  the  linen  hangings 
in  yellow,  blue,  green  and  mul- 
berry in  this  sun  porch.  The 
floor  is  of  black  and  white  tiles. 
Walls  and  cornice  are  Caen 
stone.  The  furniture  is  painted 
green  striped  with  yellow.  C. 
Victor  Twiss,  decorator 


.1  fibre  rug  in  alter- 
nate squares  of  black 
and  ecru  covers  the 
floor.  The  desk  is 
painted  green  with 
an  orange  band.  Be- 
hind it  is  trained 
ivy.  From  the  resi- 
dence of  Mr.  Thom- 
as Lyman,  Evans- 
ton,  III.  Margaret 
Field,  decorator 


74 


//  o  use     &     Garden's 


The  sheltered  end  oj  an  open  terrace  jorms  an 
ideal  porch  when  furnished  with  Swiss  reed 
enameled  to  withstand  the  weather.  The  sunjast 
stripe  gives  service  for  semi-outdoors.  An  attrac- 
tive wall  treatment  can  be  used — reed  wall  baskets 
with  containers  for  flowers.  Agnes  Foster  Wright, 
decorator 


The  terrace  of  the  Long  Island  home  oj 
Mr.  Charles  II.  Sabin  is  furnished  villi 
rattan  chairs  and  stools  in  keeping  with 
out-of-doors.    Cross  &  Cross,  architects 


<  ullage  chairs  are  in  pleasant 
harmony  with  the  Colonial  archi- 
tecture of  this  country  home. 
Peabody,      Wilson     &     Brown, 

tin  Sulci  ts 


Book     of     Interiors 


75 


There  are  several  rooms,  the  popularity  of 
which  is  growing,  that  are  so  distinctly 
outdoor  rooms  that  when  they  are  included 
inside  the  house  they  require  an  al  fresco 
treatment.  These  are  sun  rooms,  breakfast 
porches  and  sleeping  porches.  The  sun 
room  illustrated  to  the  left  and  below  is  in 
the  residence  of  Mr.  H.  Poppenheimer,  at 
Avon  Hills,  Cincinnati,  Ohio.  Soft  toned 
fabrics  have  been  used,  painted  furniture 
and  wicker.  The  floor  is  cement  marked 
in  squares.  Lattice  decoration  relieves  the 
walls.  At  one  side  is  a  wall  fountain  with 
evergreens  grouped  in  a  box  at  the  base. 
Mrs.  A.  R.  White,  decorator 


S5Skj! 


The  walls  of  the  sleeping  porch  are  mainly 
windows,  so  that  the  chamber  is  more  of 
a  room  than  a  porch.  Black  and  white  tile 
has  been  used  on  the  floors,  striped  shades 
at  the  windows,  the  same  fabrics  being 
used  for  covers  on  the  couch  beds.  Green 
and  yellow  also  enter  into  the  color  scheme. 
In  the  same  house  is  a  breakfast  porch  that 
lays  just  claim  to  distinction.  The  furniture 
is  green-black  lacquer  with  decorations  in 
old  Florentine  colors.  Draperies  are  citron 
rep  with  black  trim.  Cushions  and  seats 
covered  with  striped  linen  in  strong  colors. 
The  rug  is  citron  color  with  black  border. 
Anne  Forester,  decorator 


76 


H  o  u  s  e     &      (,  'i  r  d  I-  )/  '  ■ 


In  the  residence  of  Mr.  E.  J.  McCor- 
mack,  Brooklyn,  N.  Y .,  is  a  delight- 
fully simple  sun  room  with  a  red 
quarry  tile  floor  and  cream  stucco 
walls.     Slee    &    Brvson,   architects 


A  charming  place  to  breakfast  in  is  this 
sun-.su.ept  porch  with  its  latticed  walls 
and  hangings  of  gay  cretonne.  The 
coloring  is  mostly  gold — to  catch  the 
sunligh' .  perhaps 


Warm  gray  pi.,  i.r  -.an  ,  a  floor  of  red  tile  'i„, I  „  generou    mantel 
i"  •  bet  n  u  "I  in  tin    a,,  porch  in  thi  n  I 
denct  -■■   \lr   i    t,   Edgar,  m  Gro   ■  Pointe,  Mich      Uberl  Kahn, 

an  lull  1 1 


B  o  o  k     o  f     I  n  t  c  r  i  o  r  s 


77 


ADAPTING 

THE 
A  C  C  E  S  S  O  R  Y 


78 


II  o  u  s  e     &     G  ar den' t 


I   1 1  E     W  INDOW     IN     DECORATIVE     COMPOSITION 

I  In    ,  niiln;.'  i    one  oj  the  most  important  factors  in  any  decorative  composi- 
lion,  and  much  oj   the   success    oj  a   room   depends   upon  the   draping   oj   it. 
Either  it  /    an  object  to  be  covered,  or,  as  here,  an  architectural  feature  to  be 
accented     Thh  interior  is  from  the  residence  oj  Mr.  Henry  G.  Vaughan,  Sher 
liorn.    |/fl  I  In    woodwork   is     tinned  gumwood,   the  floor  painted  black   and 

hilt  to    imulate  tiles,  the  upholstery  is  dark  blue  and  the  curtains  are  a  sheer, 
dark  blue  net.    Little  &  Brown,  architects 


Book     of     Interiors 


79 


A   pleasant  grouping  of  delightful  souvenirs  of  Victorian  days.     Here   you   have   a    quaint    old  flower   bouquet   in  its 
glass  case,  a  pair  of  yellow  glass  candlesticks,  and  two  oval  gold  mirrors  with  storks  reflected  in  them.     Courtesy  oj 

Mrs.  Emott  Buel,  decorator 


ADAPTING 


THE 


ACCESSORY 


The  Proper  Use  of  Such  Tremendous  Trifles  as  Lamps,  Small  Tables,  Screens  and 
Objets  d' 'Art  Gives  a  Lived-in  Atmosphere  to  a  Room 


TO  create  a  lived-in,  intimate  and  sympa- 
thetic atmosphere,  to  make  homes  rather 
than  houses,  it  is  essential  that  all  the  acces- 
sories for  the  rooms  be  selected  and  arranged 
with  a  view  to  comfort  as  well  as  beauty.  For 
it  is  not  until  a  room  is  complete  in  all  its 
minor  touches  that  it  may  be  said  really  to 
"live"'.  Through  them,  it  gains  personality 
and  distinction,  and  by  the  taste  displayed  in 
their  selection,  one  may  very  easily  judge  of 
the  character  of  the  owner. 

That  idea,  of  course,  is  a  little  hard  on  many 
of  us,  who  have  inherited  quantities  of  useless 
trifles,  which  have  nothing  but  a  sentimental 
interest  to  recommend  them  and  with  which  we 
often  litter  our  homes.  A  suggestion  for  those 
unfortunates  so  handicapped  would  be  to  put 
the  sentimental  trifles  away  with  lavender  and 
old  lace,  where  they  belong. 

IF  we  are  so  fortunate,  however,  as  to  possess 
really  beautiful  objects,  of  a  mellower  civil- 
ization, it  is  a  different  matter.  Objects,  such 
,as  those  of  the  18th  Century  in  France,  for 
example,  when  really  great  artists  occupied 
themselves  with  the  designing  and  creating  of 
not  only  art  objects  per  se,  but  all  sorts  of  the 
necessary  small  appurtenances,  such  as  lamps 
and  screens,  clocks  and  andirons.  Then  it  was 
that  men  like  de  Gouthiere  or  Clodion  were 
among  the  many  masters  who  gave  their  skill 
to  the  casting  in  bronze  of  a  candelabra  or 
lantern  and  who  inspired  and  animated  all  of 
the  fascinating  details,  which  through  their 
clever  use  make  a  perfect  setting. 

It  was  in  those  days  that  the  collecting  of 
beautiful  objects  was  considered  an  obligation 
of  the  leisure  class,  and  the  man  who  wished 
to  live  in  the  appropriate  sort  of  an  atmosphere 
had  not  only  to  have  the  money  to  acquire 
these  objects,  but  the  discretion  to  choose  them, 
and,  above  all,  the  patience  to  wait  for  the 
artist's  handiwork  to  be  completed. 

One  of  the  curses  of  modern  civilization  is 
that  we  no  longer  have  time,  patience  or  suffi- 
cient interest  to  allow  our  homes  to  grow  mel- 
low gradually.  This  feverish  restlessness  has 
naturally  affected  our  artisans  and  discouraged 
our  artists,  and  for  that  reason  we  find  our 
shops  crowded  with  poor,  cheap  objects  with  a 
purely  "catch-penny  attraction",  which,  when 
placed  in  an  otherwise  attractive  interior  be- 
come through  their  very  tawdriness  the  most 
conspicuous  things  in  the  room.  Consequently, 
the  entire  standard  of  the  decoration  is  lowered. 


On  a  marquetry   table  stand  a  green  vase 
with  bead  flowers  and  a  pair  of  parakeets 


How  often  have  decorators  thus  suffered  from 
the  idiosyncrasies  of  their  clients! 

As  a  matter  of  actual  fact,  there  is  abso- 
lutely no  necessity  for  ornaments  at  all,  unless 
as  an  inspiration,  because  of  their  beauty  in 
color  or  form,  and  bad  ones  are  totally  worth- 
less. The  acquisition  of  purely  expensive 
things,  inartistic  bronzes,  oil  paintings  in 
heavy  gold  frames,  onyx  pedestals,  imitation 
teakwood  stands,  ornate,  impractical  vases 
should  be  discouraged.  These  atrocities  are 
still  frequently  seen,  having  been  sold  to  the 
gullible  purchaser  under  the  guise  of  "objets 
d'art". 

THERE  are  a  few  general  rules  which  may 
help  to  guide  the  unwary.  To  begin  with, 
the  term  "art  object"  should  be  conceded  to  be 
appropriate  only  after  an  authority  (an  au- 
thority with  a  cultivated  taste)  has  pronounced 
them  worthy  of  that  title.  Having  decided 
upon  the  soundness  of  one's  judgment  in  the 
matter,  the  next  consideration  is  the  appropri- 
ateness of  the  selection  for  the  room  for  which 
they  are  intended.  The}-  should  not  only  be 
appropriate  in  style,  to  conform  with  the  gen- 
eral decoration,  but  in  proportion  as  to  size. 
It  is  quite  obvious  that  a  huge  crystal  lustre, 
although  magnificent  in  a  formal  drawing 
room,  would  be  quite  inappropriate  in  a  sim- 
ple chintz-hung  sitting  room.  A  vase  which 
looks  top-heavy  for  a  small  table,  a  lamp  so 
small,  because  of  its  unfortunate  position,  that 
one  could  not  possibly  read  by  its  light,  a  lit- 
tered, crowded  mantel  with  objects  too  large 
in  proportion  for  its  size  are  all  pitfalls  to 
be  avoided. 

As  to  the  appropriateness  in  style,  it  is  need- 
less to  mention  the  inadvisability  of  using 
quaint  Victorian  touches  in  a  rather  formal 
Louis  XVI  room,  or  delicate  Directoire  orna- 
ments in  an  early  Jacobean  English  room.  It 
is,  of  course,  not  necessary  to  stick  religiously 
to  one  period  in  the  choice  of  accessories,  but 
the  type  of  small  object  used  should  be  in  the 
period  which  will  happily  combine  with  its 
surroundings.  This  is  a  subtle  art,  which 
can  only  be  learned  gradually. 

AS  to  the  essential  accessories,  such  as  mir- 
_/~\.  rors,  screens,  lamps,  small  tables,  candle- 
sticks, they  should  have  to  pass  the  same  tests 
as  the  art  objects.  In  other  words,  they  should 
be  really  beautiful  things  in  themselves.  For- 
tunately, for  us,  there  are  bits  of  lovely  china 


so 


House     &     Garden's 


Delightfully  appointed  is  this 
Venetian  lacquer  desk  with  a 
happy  arrangement  of  a 
Chinese  figurine  between  two 
lotus  blossoms.  Symmetry  is 
gained  by  a  careful  placing  of 
the  pictures.  Mrs.  Etnott 
Buel,  decorator 


An  antique  walnut  Italian 
settee  stands  between  mahog- 
any and  satinwood  small 
French  tables  of  the  same 
epoch.  On  them  are  green 
Chinese  porcelain  lamps  with 
painted  shades.  Darnley,  Inc., 
decorators 


and  glass  from  the  Orient,  modern  to  be 
hut  very  lovely  in  color  and  attractive  in  de- 
sign, which  arc  available  today.  Italy  is  also 
making  fascinating  pottery,  appropriate  for 
lamps,  flower  bowls,  vases,  and  so  forth,  most 
of  it  reproductions  of  old  pieces,  but  all  of  it 
answering  to  the  requirements  of  both  use  and 
beauty. 

NO  matter  how  beautiful  the  object,  how- 
ever, or  how  lovely  its  color,  it  will  l>e 
of  no  avail  unless  it  is  so  placed  as  to  be  of 
some  real  use.  Not  only  must  that  be  con- 
sidered, but  the  question  of  overcrowding  as 
well.  For  example,  the  potential  possibilities 
of  a  mantel  shelf  or  a  buffet,  or  a  console  table 
are  very  great.  On  all  these  may  be  developed 
a  well-balanced,  restful,  interesting  decoration, 
through  the  use  of  carefully  selected,  har- 
moniously placed  objects.  Their  use  in  pairs 
as  in  many  instances  illustrated,  creates  that 
restful,  well-balanced  atmosphere  which  makes 
the  coming  into  some  rooms  such  a  delight. 

THE  objects  selected  for  these  little  centers 
of  decoration  should  be  sufficiently  closely 
related  in  themselves  in  type,  as  well  as  to  the 
object  on  which  they  are  placed.  An  Italian 
table,  with  an  old  piece  of  heavy  filet  lace 
will  carry  with  distinction  a  pair  of  tall  amber 
colored  Venetian  glass  urns,  and  a  center  deco- 
ration of  fruits  in  an  Italian  alabaster  bowl. 
This  feeling  for  the  right  thing  is  not  merely 
an  appreciation  of  beauty;  it  is  a  gradual 
elimination  of  the  inadequate.  If 
your  arrangement  of  accessories  will 
not  stand  the  test  of  either  use  or 
beauty,  they  may  well  be  said  to  be 
of  no  importance. 

If  we  will  but  stop  to  analyze  the 
rooms  which  have  had  that  home- 
like, lived-in  atmosphere  which  is 
the  ultimate  goal  for  which  most  of 
us  are  striving  in  our  houses,  we  will 
realize  that  that  subtle  something 
which  may  be  missing  in  our  own 
surroundings  is  due  to  the  fact  that 
all  the  small  articles  have  been 
placed  with  discretion  and  a  sympa- 
thetic understanding  of  the  needs  of 
the  occupants.     One  will  realize  that 


On  a  round  I  r  i  - 
pod  Empire  table 
in  dull  mahogan . 
w  i  t  h  green  a  n  d 

■/old   ley.:   and   a 

marble  top 

a     Venetian    glass 

i  n  d   a 
quaint   old   i  hnnli 

l  in     chair 

i      rnrrnl    •  ■ 

karat 

Xtt  <  ham  In- rim 

:,   a         I  In 
■if     the 
room 


Perfect  boudoir 
accessories  are  a 
painted  lamp 
with  a  taffeta 
s  hade  finished 
with  mulli-col- 
o  r  e  d  ribbon,  a 
French  figurine  in 
the  Chinese  man- 
ner and  an  old 
painted  sweet- 
meal  box,  all  dis 
posed  on  a  satin- 
wood  double  kul 
ney-shaped  table. 
Chamberl  i  n 
Dodds,     decorator 


Book     of     Interiors 


31 


that  small  table  near  the  davenport  has 
its  accompaniment  of  essential  lamp 
and  shade,  its  box  for  cigarettes,  its 
ash  trays,  its  place  for  hooks.  One 
will  appreciate  that  a  careful  arrange- 
ment on  a  commode  of  a  bowl  of  beau- 
tiful flowers  with  a  pair  of  Chinese 
porcelains  at  each  side  gives  the  eye  a 
pleasing  resting  place  and  adds  much 
to  the  quiet  distinction  of  the  room. 

How  often  has  one  visited  houses 
where  the  obvious  fact  that  nobody 
lived  in  the  living  room  made  it  a  cold, 
uninviting  interior.  The  writing  table 
had  none  of  the  essentials  arranged 
upon  it;  there  were  no  flowers  any- 
where; there  was  no  fire  in  the  fire- 
place and  no  intimation  that  there 
would  be  any,  no  place  where  one  could 
sit  down  and  read  comfortably,  no  pic- 
tures, no  books;  no  anything  alive.  All 
this  due  to  the  fact  that  the  tremendous 
trifles  had  not  been  considered. 

IT  is  with  great  delight  that  one  re- 
members some  rooms.  They  may 
have  pleased  us  for  man}-  reasons,  un- 
considered at  the  time.  There  was  the 
delightfully  comfortable  paneled  liv- 
ing room  and  library  combined,  with 
filled  bookshelves  up  to  the  very  ceil- 
ing, with  a  bay  window  forming  a  com- 
fortable nook  in  which  a  writing  table 
with  all  its  delightful  appointments  had 
l>een  placed.  There  were  a  sufficient 
number  of  softly  shaded  lamps  creat- 
ing glowing  spots  in  the  room  and  in- 
viting the  reader.  There  was  an  ample 
table  with  place  for  books  and  maga- 
zines and  comfortable  chairs  drawn 
close  by,  and  there  was  that  most  in- 
viting arrangement  of  all  around  the 
fireplace  with  its  shelf,  a  perfect  de- 
light in  color  decorations.  The  walls 
had  been  painted  a  soft  gray-green  and 
one  never  will  forget  the  delicious  com- 
bination of  Chinese  yellow  vases  stand- 
ing at  each  end  of  the  mantel  with  a 
brilliant  blue  Chinese  urn  in  the  cen- 
ter. They  formed  the  only  decoration 
on  the  mantel,  with  the  exception  of  one 
or  two  very  small  bronzes,  adding  an 
art  interest  to  the  whole. 

That  one  does  not  have  an  elaborate 
setting  or  proud  objects  to  create  this 
desirable  atmosphere  is  frequently 
illustrated,  when  a  clever  person  has 
been  able  to  do  it  through  the  use  of 
color  alone  and  a  few  wisely  chosen, 
inexpensive  things.  I  particularly  re- 
member a  little  dining  room  with  its 
painted  Venetian  blue  plaster  walls. 
At  the  casement  windows  had  been 
hung  orange  sundour  curtains,  and  in 
the  very  sunniest  place  of  this  very 
sunny  room  was  a  bowl  of  goldfish, 
with  pots  of  growing  ivy  standing  at 
each  side.  More  ivy  was  arranged  in 
a  box  with  a  trellis  at  one  side  of  the 
room,  between  two  very  simple  mahog- 
any consoles,  and  on  them  were  candle- 
sticks of  inexpensive  Italian  pottery, 
with  painted  orange  colored  shades. 
Nancy  Ashton. 


To  break  a  long  living  room  by  dis- 
creetly placing  a  tall  red  lacquer 
screen  at  one  of  the  entrances,  with 
an  arrangement  of  furniture  in  front 
of  it,  is  an  interesting  treatment. 
Schmitt  Bros.,  decorators 


S3 


II  o  u  s  e    &     G  a  r  d  e  »    -, 


The  dignity  of  a  spacious  room  with 
a  large  Carrara  mantel  finds  re- 
sponse in  crystal  candelabra  and  a 
bust  of  Pauline  Bonaparte  by  Casa- 
nova; from   Chamberlin  Dodds 


FIREPLACE  MANTEL 


~mstmm 


Above  the  mantel  are  mirrors  with 
dull  gold  rosettes,  and  Directoire 
armchairs  are  drawn  up  near  the 
fireplace.  Mary  Nash  imperson- 
ates the  charming  Directoire  lady 


DECORATIONS 


Very  effective  is  this 
treatment  of  a  man- 
tel in  a  paneled  room 
painted  red  violet. 
Eight  little  Chinese 
gods  guard  the 
hearth,  surmounted 
by  a  carved  gilt  mir- 
ror; from  Ruby  Ross 
Goodnow 

(Right)  On  a  Louis 
XV  mantel  of  Breche 
d'Alep  marble  stand 
amethyst  and  white 
crystal  girandoles.  A 
gilt  bronze  clock  and 
a  marquetry  table 
with  silk  "garde  feu" 
are  of  the  period; 
from  Diane  Del  Monte 

I 1. rlt  )  A  /-  r  e  »  i  li 
mantel  under  a  flow- 
er painting  holds  a 
boi  ,  rie  bust  of  the 
Louis  V  17  peri  o  d 
Hanked  by  Venetian 
-1,1  candlesticks  anil 
urns.  At  either  id 
innil  I  a  a  i  \  I  / 
.  hair      El  /<  de  II  "//'■ 


Uatl  o  Edward    Hewltl 


Book     of     Interiors 


83 


Suitable  for  a  hall  or  the  side 
of  a  large  living  room  is  a 
group  consisting  of  a  three- 
drawer  Italian  table,  on 
which  is  placed  a  miniature 
chest  of  drawers  of  the  late 
\~th  Century  from  South 
America,  and  a  pair  of  Lowe- 
stoft vases.  The  background 
is  furnished  by  a  piece  of  rich 
damask  bound  with  galloon. 
Wrought  iron  candlesticks 
are  placed  on  either  side 


GRO  U  PI N  G 
ANTIQUES 

Five  Suggestions  for  Their 
Positions    in   the  Room 


A  serving  table  group  for  the  dining 
room  is  composed  of  a  pier  table  with 
an  antique  tray  and  vases,  and  above, 
a  jerandino  mirror.  The  composition  is 
simple  and  in  keeping  with  the  lines  of 
the  table 


Wm 


mm 


A  carved  Jacobean  chest  with 
accompanying  chairs  and  a 
tapestry  for  a  background 
constitutes  a  good  hallway 
group.  Each  piece  in  the 
composition  has  sufficient 
room.  If  antiques  are  worth 
preserving  at  all,  they  deserve 
decent  display;  they  should 
never    be   crowded 


For  the  guest  room  a  group 
can  be  made  of  a  Jacobean 
chest  of  drawers  with  Lan- 
cashire chairs  on  either  side. 
An  early  18th  Century  ma- 
hogany mirror  is  hung  above. 
The  walls  are  covered  with  an 
antique  French  chintz  full  of 
rich  coloring,  a  custom  now 
in  vogue 


A  third  grouping  for  the  hall 
uses  the  oak-seated  Lancashire 
chairs,  which  are  very  much 
in  vogue,  a  Spanish  table  with 
iron  supports  surmounted  by 
an  early  \"ith  Century  Span- 
ish chest  of  ivory  inlay.  The 
French  Renaissance  tapestry 
used  in  the  hall  group  above 
has  been  employed  here  for  a 
background 


84 


House     &     Garden's 


CONSOLE  GROUPINGS 

LEE  PORTER,  Decorator 


(Below)  A  natural,  dignified  hallway 
grouping  is  composed  of  a  carved  gilt  con- 
sole with  marble  top;  an  ornately  carved 
mirror,  a  pair  of  lustres  and  a  fine  Chinese 
bowl.  This  is  arranged  with  an  oak  pan- 
eled  wall   as   background 


In  a  narrow  hall  a  decorative  balanced 
group  can  be  made  of  a  console  shelf 
with  a  plant  stand  on  either  side.  All 
three  pieces  are  carved  walnut  with 
gilt  decorations.  The  console  shelf  is 
marble 


(Below)  Among  wall  furniture  that  is 
treated  in  the  same  manner  as  the  con- 
sole is  the  sideboard.  A  panel  painting 
takes  the  place  of  a  mirror;  the  bal- 
anced grouping  of  accessories  still 
obtains 


The  addition  of  old  carriage  lamps  used 
for  side  lights  gives  interest  to  this 
hallway  grouping  of  table  and  mirror. 
It  will  be  noted  that  marble  is  gaining 
popularity  for  table  tops  of  this  char- 
acter 


(Below)  The  serving  table  in  the 
dining  room  opposite  is  treated  in  the 
same  manner  as  the  sideboard:  group 
is  set  before  a  picture  let  into  the  panel 
of  the  wall,  with  the  candles  i  n 
silhouette 


A    fine   example   of   eagle   console   with 
heavily   carved  mirror,  used  as   a  hall- 
way grouping 


Book     of     Interior* 


85 


OVER  DOOR     DECORATIONS 


Black  and  white 
checked  carpet,  a 
black  and  white  door 
with  a  silhouette 
panel  above.  The 
treatment  would  give 
interest  to  a  dull 
apartment   hall 


An  unusual  effect  oj 
formality  is  found  in 
this  double  door  by 
the  decorative  statues 
of  the  woodwork  and 
the  glassed  panel 
below 


% 


The  painted  panel  is 
the  most  popular 
form  of  overdoor 
decoration,  especially 
adapted  to  a  formal 
room  where  the 
woodwork  is  of  good 
period    design 


In  a  room  of  large 
proportions  and 
heavy  fittings  the 
niche  can  be  used. 
This  is  from  the  of- 
fice of  M  ell  or  & 
Meigs,  architects 


A    carved  panel   is   often   used   in    the 
arch  of  a  Colonial  doorway 


A    heavily    carved    overdoor   from    the 
State  House  in  Philadelphia 


A   carved  entrance  overdoor  decoration 
with    a   lamp   inserted 


s» 


II  o  use     &     C  a  r  d  <■  n    i 


COUCH-END      TABLES,      STOOLS 
AND     LAMPS     TO     GO     ON     THEM 


A  popular  design  for 
smoking  stands  beside 
•  imihe s  is  the  English 
oak  stool  of  the  1625- 
1640  period 


English  oak  stools  help 
furnish  a  room  and  are 
especially  desirable 
where  Jacobean  piece* 
are  used 


{Above)  The  three-cornered 
table  fits  well  into  an  angle 
when  the  couch  is  against 
the  wall  and  presents  an  un- 
usual shape  for  the  purposz 


An  Italian  table  will  often 
serve  at  the  end  of  the  couch 
or  beside  a  deep  chair.  Its 
lamp  can  have  a  parchment 
shade.   Lee  Porter,  decorator 


o    this   i  fpe  do  not  "  </""' 
ible  t  iiu  / 1  •>  a    mall    land  a    i  t    tki 

in  character  with  the  othei 
III    ttubet  i    i  "    dt  <  oralot 


The  interesting  semi  circular  table  is  especially  adapt 

able  for  couch  ends  or  consoles.  There  is  space  enough 

for  it  small  reading  lamp  and  smoking  tray.     Earle 

Campbell  was  the  det  orator 


B o o k      of     Interior 


87 


HOW  TO  MAKE 
YOUR  OWN 
CURTAINS 

D  by  ACNES  FOSTER   WRIGHT 


Where  only  one  set  of  curtains  is 
required  use  a  French  valance. 
Gathers  are  made  onto  a  narrow 
tape.  Across  the  top  the  fullness 
is  taken  in  a  tuck  between  each 
tape 


On  the  bottom  of  the  painted  val- 
ance board  is  tacked  a  il/>"  band 
with  three  full  taffeta  ruffles  pinked 
on  the  edge.  The  tie-back  has  the 
same  ruffles,  and  the  curtain  ruffles 
are  of  plain  muslin 


A  simple  valance  can  be  made 
by  using  two  %i"  bandings  ap- 
plied 2J^"  apart.     Valance  and 
curtains  are  picoted 


On  buckram  or  a  semi-circular 

frame    is    gathered    the    striped 

material  with  a  ruffle,  to  make 

this   interesting    valance 


Both  the  valance  and  the  hem  of 
this  curtain  are  finished  with  ruf- 
fles— a  12"  ruffle  with  two  3" 
ruffles  applied  and  edged  with  rick- 
rack  braid.  Suitable  for  a  cottage 
room 


8S 


House    &    G  ar  den' t 


SOLVING  THE  CURTAIN  PROBLEM 


An  air  of  formality  is 
given  a  window  by  a 
plain  fitted  valance  so 
arranged  with  the  cur- 
tains as  to  cover  the 
window  trim.  It  may 
repeat  the  design  of 
the  curtain  fabric.  It 
should  be  fitted  on  a 
board  or  a  strip  of 
plaster  board  to  keep 
it    in    shape 


To  the  right  is  a  box 
pleated  valance  with 
undercurtains  looped 
back,  the  latter  ar- 
ranged on  cords  that 
permit  them  to  be 
dropped.  These  under- 
curtains can  be  made 
of  scrim  or  net,  prefer- 
ably an  ecru  color.  The 
color  of  the  overcur- 
tains  will  depend  on 
the  scheme  of  the  room 


*mm-~~ 


tor  a  row  of  casements 
or  a  bow  window,  an 
over-all  valance  with 
curtains  at  either  end 
is  best.  The  glass  cur- 
tains can  be  made  to 
draw.  If  one  desires 
complete  privacy  under- 
curtains can  be  mad: 
1  o  r  each  window. 
Scrim,  net  or  gauze 
would   be   the  fabric 


Below  is  the  trouble- 
some type  of  window 
with  the  circular  head. 
Fit  a  curtain  to  it 
either  draping  the  fab- 
ric or  fitting  it  loosely. 
Piping  may  define  the 
bottom.  This  acts  as 
a  valance  for  the  rest 
of  the  curtaining 


The  French  window  or 
door  with  a  transom 
is  always  a  problem. 
Make  shirred  curtains 
of  net  or  scrim  for 
the  transom  and  attach 
them  on  rods  or  tapes. 
The  door  itself  can 
have  a  glass  curtain — 
of  the  same  material 
— attached  at  top  and 
with  a  ruffle  effect 
below.  Overcurtains 
should    hang    loose 


For  a  bedroom  window 
the  valance  on  a  curved 
rod  is  always  interest- 
ing. It  should  be  made 
with  a  deep  hem  and 
the  curtains  hung  from 
behind.  Marquisette, 
voile,  casement  cloth 
or  even  cheesecloth  can 
be  used  effectively 


,  ,       .. ;,,,  i   \orm  drapi     con  i  '  i  of 

undet  wronged  on  rods  or  taut  wires  for 

fro/Wing,     ""d     OVerCUrtalm      Hung     on     mil;     and 

<in  latter  ma.  /<<    lipped  over  the  pole 
and   madt    ■  nil   o   French   heading 


For  the  ordinary  four-paned  window  where  over- 
curtains  are  not  used,  the  accepted  schemes  are 
curtains  on  rods  to  the  sill,  curtains  shirred  and 
hung  loose  from  each  section  of  the  window  or 
shirred  and  attached  as  here,  top  and  bottom 


Book     of     Interiors 


89 


A     PORTFOLIO 

OF     MISCELLANEOUS 

INTERIORS 


Including  Living  Rooms,  Halls,  Libraries,  Bedrooms, 
Salons,  Dining  Rooms,  Nurseries  and  Play- 
rooms, Bathrooms  and  Kitchens 


90 


House     &     Garden's 


THE  GREAT  HALL  IN  AN  AMERICAN  HOME 


hall  was  al\  a      a   characteristic  feature 

manorial  home      It  h   logical  then, 

a   house  in  thai   character  is  erected  in 

hall    hould  be  incorporated  in  its  design 

I  In    i    m   the  residence  of  Mr.  Allan  Lehman,  at 

TarrytO'i  »,  N    V  ,  om-  of  ih»  <■  Immr    that  we  owe, 

■  Britain    for  not  alone  is  the  design  English,  but 

ork  and  paneling  in  this  hall  wen    taken 


hum  an  nlil  English  house.  The  stone  chimney 
piece  dates  from  1650.  Above  it  is  a  minstrel  gal- 
lery and  above  that  the  open  timbers  of  the  ceiling. 
\u  embroidered  cope  suspended  from  the  gallery 
rail  lends  a  touch  of  color  to  the  sombre  wood 
The  furniture  is  original  of  the  period.  John  Rus 
tell  I'ope  was  the  architect  of  the  home,  and  the 
decorators  -ere  Si  limit  i  Brothers 


Booh     of     Interior s 


01 


People  will  never  have  done  talking 
of  the  decorative  possibilities  of  the 
city  apartment.  But  few  are  able 
to  carry  out  their  theories  so  suc- 
cessfully as  has  been  done  in  this 
charming  living  room  with  paneled 
walls  of  soft  green.  The  window 
draperies  are  of  heavy  antique  dam- 
ask in  turquoise  blue  and  green;  the 
undercurtains  of  coarse  old  filet. 
The  table  is  painted  brownish  black 
with  a  yellow  top.  Red  wooden 
plaques  for  lighting  fixtures.  Miss 
Swords,  Inc.,  decorators 


For  the  lover  of  the  omnipresent 
Oriental,  the  Chinese  reception  room 
shown  below  will  hold  much  inter- 
est. The  lacquered  furniture  is  in 
black  and  gold,  with  two  or  three 
pieces  of  dull  sealing-wax  red.  The 
walls  are  a  light  jade  green.  The 
rug  is  black  with  a  jade  green  bor- 
der, while  the  portieres  and  valances 
are  of  black  figured  linen  finished 
with  vari-colored  fringes.  The  lady 
in  the  frame,  however,  is  indubitably 
Occidental  in  extraction.  Miss  M.  A. 
Lewis  decorated  the  room 


92 


House    &    Garden's 


In  this  old  house,  remodelled  with  artful  simplicity,  the  atmosphere  of  an  older  day  is 

enhanced  by  the  handsomt  mantels  of  the  Adam  period  which  have  been  brought  from 

Virginia  and  built  into  the  house      The  drawing  room,  paneled  in  tream  painted  wood, 

ha    a    kilfully  arranged  and  effective    theme  of  maniel  decoration 


Book     of     Interiors 


93 


Deep  shelves  between  the  casement  windows  in  this  morning  room 
contain  a  collection  of  Chinese  jade  plants  and  books.  An  old  Queen 
Anne  table  serves  for  desk  and  others  hold  lamp  and  flower  bowl. 
Italian  chairs  are  before  the  windows.  Ruby  Ross  Goodnow,  decorator 


From  an  old  fabric  were  cut  the  shaped  valances  in  this  boudoir.  These 
are  bound  in  a  heavy  braid,  as  are  the  curtains  themselves  and  the 
tie-backs.  Small  chairs  are  upholstered  in  the  same  material.  An 
old  w'ndow  seat  senses  for  bench.     Ruby  Ross  Goodnow,  decorator 


A  livable  living  room  is  found  in  the  country  home  of  Mr.  Julian  L.  Peabody, 
at  Westbury,  L.  I.  Weathered  oak,  hand-adzed  beams  support  the  ceiling. 
The  walls  are  rough  plaster  painted  deep  cream.  Some  of  the  furniture  is 
oak,  some  of  it  is  painted.  The  hangings  and  upholstery  are  blue.  There 
is  space  enough  for  several  distinct  furniture  groupings — a  music  corner  around 
the  piano,  the  center  table  and  the  fireplace  sofa  with  its  refectory  tabic 
behind.     Peabodv,   Wilson   &   Brown,   architects 


Q4 


//  o  u     e     &     G  a  r  d  t  n  '  s 


In  this  bedroom  is 
an  interesting  low 
wainscot  and  cup- 
boards of  paneled 
wood  painted  white. 
The  rug  is  tete  de 
negre  with  a  soft 
green  fringe.  On  th" 
bed  and  at  windows 
is  embroidered  linen 
with  Spanish  wool 
fringe  in  soft  green, 
mulberry  and  blue. 
The  William  and 
Mary  stool  is  cov- 
ered with  old  needle- 
work. Slip  covers 
are  mulberry,  green 
and  blue.  F.  Patter- 
son Smith,  architect 


A  carved  poly- 
zhrome  screen  bt 
tween  the  living 
room  and  hall 
ili  Unction  in  th  ■ 
re  idem  e  of  Mr 
George  Dobyne, 
B ever I  Farm  . 
Ma  1  he    rug    is 

and 
tin-     furniture     la 

,:       Slip   '  "'  '  r 
and       curtain        are 
mulberry,  green  and 
blue  i"  a  <  harat  ter 
i  in     lai  obean    de 

I        /',"■ 

Smith,       archi 

i      II:.' 

■    ',    d"  lira' 


\ 


Book     of     Jul 


c  r  i  o  r  s 


05 


The  walls  and  ceil- 
ing are  especially 
interesting  in  this 
bedroom  at  Lees 
Court,  Kent,  Eng- 
land. The  deli- 
cacy of  coloring 
and  richly  carved 
panels  and  border 
make  an  excellent 
background,  alter- 
nating in  interest 
with  the  stately 
Hepplewhite, 
Sheraton  and  Wil- 
liam and  Mary 
furniture.  Alex- 
ander &  Atkinson, 
architects 


96 


House     &     Garden's 


The  walls  oj  this 
boudoir  are  tinted 
a  light  orchid 
tone  to  harmonize 
with  the  Asia 
Minor  carpet. 
The  curtains  are 
a  darker  orchid 
shade,  and  the 
Louis  XVI  day- 
bed  is  colored  in 
golden  taffeta. 
Above  it  hangs  a 
portrait  by  Ben- 
jamin West.  A 
Painted  cupboard 
stands  between 
the  windows 


A  close  view  o  f 
the  wainscot  pan- 
ei  and  wain  ruled 
door  oj  thi  little 
Tudor  I  i b r a  r  v 
leading    into    I  h  e 

hall  hoiy 
the  I)  eautiful 
-.  orkman  hip  <>  f 
the  ronw  and  the 
implicit)  n  v  d 
dignity  oj  tin  rlr 
■•ign.     A      pair     oj 

'■n  im  jili- 
iron  bracket  and 
a    paintinv 

ate  thi 


Book     of    Interiors 


97 


Paintings  done  i  n 
the  spirit  of  the 
nth  Century  fur- 
nish the  walls  of 
this  dining  room. 
The  chairs,  also 
designed  in  11th 
Century  spirit,  are 
upholstered  with 
needlework  m  o  - 
tijs  of  the  16th 
Century.  Two 
interesting  shrines 
are  placed  on  the 
16th  Century  linen 
cupboard  at  the 
right  of  the  picture 


98 


House     &     Garden's 


The  entrance  hall- 
way in  this  Boston 
residence  is  charac- 
teristically Colonial, 
with  its  cur  v  in  g 
stairs  and  the  repe- 
tition of  that  cune 
in  the  ceiling  and 
the  lights  about 
the  door.  The  fur- 
niture is  in  period 
and  disposed  to  the 
best  advantage  o  f 
dignity.  The  m  a  - 
hogany  of  the  fur- 
niture, it  will  be 
noted,  repeats  t  h  e 
mahogany  of  the 
stairs  rail,  follow- 
ing the  accepted 
Colonial  custom  in 
this  respect 


An  interesting 
scheme    has     been 

■  d   in    this 
room.     The    bed    i 
warm    ivory    w  i  t  h 
jade  green  lim ■■■.  and 

run 

Crisp  taffeta  j  a  d  e 

are    piped 

with   lemon   yellow. 

Lampshades 

■  ell  0  W    and 

>i  a    i-  ■  blue     1  h  • 
<  hai  >■  longue 
mauve        trip' 
hn     mg     table    and 
tool    are    u  p  h  n  I 

tered  in 

and     tin-     r  a  n  0  I' 

lined   ■::  i  !  ■ 

A  %n  i         in      I  i-  r 

hi,     decorator 


Book     of     Interiors 


99 


How  is  any  cold  photograph  ever 
going  to  make  one  realize  just  what 
Chippendale  mahogany,  yellow  cur- 
tains, and  a  Chinese  lacquer  screen 
can  do  in  a  dining  room?  Old  sil- 
ver and  glass  and  a  pair  of  Chinese 
vases  shine  here  and  there 


Paneled  in  cream  color,  the  walls 
of  the  dining  room  make  a  serene 
background  for  the  stately  old  ma- 
hogany and  the  family  portraits. 
And  through  that  quiet  doorway, 
one  glimpses  the  fireplace  of  the 
living  room  opening  beyond 


(Left)  These  very  literary  Chinese 
cocks  crow  their  imaginary  farm- 
yard joy  on  the  fine  old  mantel  in 
the  library,  while  the  tan  and  blue 
Chinese  rug  on  the  floor  reflects  the 
color  scheme  of  the  whole  room 


"Topside",  the  home  of  Mr.  Bruce  Clark  on  Long  Island,  is  a  farmhouse  of  1830  days  remodeled.     The 
living  room  has  light  tan  walls  and  mulberry  curtains.    On  the  furniture  is  rose  and  blue  mulberry  chintz 


ICO 


House     &     Garden's 


THE     M  O  TIF    OF    A     ROOM 


//   i     often  t>"  iHilr  for  one  piece  of  furniture 

\o  t  tabli  h  the  atmosphere  of  mi  entire  room 

In  tin    drawing  room,  which  i    in  the    Vew 

idenct    of  Charles   Mather  MacNeill, 


Esq.,  the  Adam  over-mantel  mirror  sets  the 

motif    for    the    rest     of    the    tin  orations — the 

Adam  wall  panels,  the  crystal  mantel  garni- 
ture, the  frieze.    Frederick  Sterner,  architect 


Book     of    Interiors 


101 


In  I  h  e  h  o  in  e  o  j  Mr.  H.  G. 
Vaughan,  at  Sherbom,  Mass.,  of 
which  five  views  are  shown  here, 
the  dining  room  walls  are  cov- 
ered with  an  old  Dutch  scenic 
paper  and  the  furniture  is  Jaco- 
bean. George  Porter  Fernald, 
architect 


All  floors  upstairs  are  painted 
dark  gray  and  walls  cream.  In 
each  bedroom  is  a  large  fireplace 
with  mantel  taken  from  old  Sa- 
lem houses.  Wainscoting  and 
cornices  came  from  the  same 
source.     Lee   Porter,   decorator 


Prom  an  old  house  in  Maine  was 
taken  the  design  and  detail  for 
the  second  story  stair,  a  beauti- 
fully proportioned  element  well 
placed  in  its  setting 


102 


House     &     Garden's 


There  is  great  beauty  in  rough  plaster  for  a  room,  especially  wh  n  combined  with  open  beams,  a  stone  mantel,  terra  cotta  inserts 
and  serving   as  a   background  jor   oak  furniture.    From   the   G.  W.  Davison  residence,  Greenwich,  Ct.    A.  L.  Harmon,  architect 


In  tht  residence  antique  Italian   furniture,  wrought  iron  and  tapestries   have   been  effectively  placed.    The  refectory   table   is 

\nd  beat    toll  tilver  candle  ticks      l  church  lamp,  wired  for  modern  uses,  hangs  above.    Harry  H.  Kussell,  architect 


Book     of     Interiors 


103 


Italy  of  the  14th  Century — that  pivot  of 
the  medieval  cycle — is  perpetuated  in  this 
chamber.  The  walls  are  of  old  gray  plas- 
ter, against  which  are  hung  curtains  of 
deep  coral  damask  with  a  heavy  fringed 
valance.  The  bed  is  an  antique,  a  14//; 
Century  piece,  in  walnut  and  polychrome. 
A  richly  figured  damask  cover  with  a  deep 
fringe  maintains  the  dignity  of  the  bed. 
The  little  bedside  chair,  also  a  14th  Cen- 
tury antique,  has  a  seat  pad  tied  on  with 
tasseled  cords — a  quaint  device.  Benjamin 
W'istar    Morris,   architect 


On  the  other  side  of  the  chamber  shown 
above  is  a  wide  fireplace  with  a  caived 
mantel.  A  tryptic  and  a  pair  of  fine  old 
K'ang-Hsi  beakers  in  coral  ornamentation 
are  used  for  mantel  decoration.  The  doors 
are  solid  oak  fitted  into  the  openings  with- 
out wood  trim.  The  ceiling  is  arched  and 
in  that  rough  plaster  one  finds  universal  in 
Italy,  its  rough  texture  giving  it  rich  values 
and  a  variety  of  light  and  shade  that  is 
pleasing  in  such  a  room.  John  Hutaff, 
decorator 


Another  Italian  chamber  boasts  a  little 
\\th  Century  bed  raised,  as  was  the  custom 
of  the  day,  on  a  platform.  A  pair  of  old 
commodes  makes  bedside  tables.  Behind 
is  a  Flemish  tapestry  that  is  in  perfect 
character  with  the  rough  plastered  walls. 
A  coverlet  of  velvet  bound  with  heavy 
fringed  galloon  is  thrown  over  the  bed  and 
the  footboard.  A  stool  is  covered  in  the 
same  material.  One  object  typical  of  the 
\4th  Century  chamber,  oddly  enough,  seems 
lacking — some  religious  symbol.  John 
Hutaff,  decorator 


104 


House     cr     Garden's 


(T 


7,- 


There  is  an  Eng- 
lish 17th  Century 
atmosphere  in  litis 
dining  room,  with 
its  paneled  walls, 
cove  ceiling,  and 
Laded  casements. 
The  furnishings 
and  accessories 
are  antiques  o  r 
the  period.  T  h  i  s 
room  and  the 
room  below  are 
from  the  New 
York  City  home 
of  Stewart  Walk- 
er ,  Esq.,  the 
architect 


The  background 
of  the  library  is 
glossy  pine  pan- 
eling of  beauti- 
ful grain  with  a 
carved  co  r - 
nice  ant}  mantel. 
The  bookshelves 
are  built  in, 
with  cupboards 
for  portfolios 
below.  The 
over-door  dec- 
oration shows  a 
pleasing  use  of 
an  ivory  cast 
toned  to  har- 
monize with  the 
color  of  the 
walls 


J 


Book     of     Interiors 


10S 


H 


Much  of  the  dig- 
nity of  this  dining 
room,  in  addition 
to  its  proportions, 
is  d  ue  to  its 
architectural  ele- 
ments —  the  low 
wooden  waimcot 
with  the  yellow 
paint  e'id  wall 
above,  the  old 
mantel  and  its 
painting  and  the 
shallow  niches  a  t 
either  end  with 
old  iron  and 
wooden  console 
tables    built    in 


A  little  recep- 
tion room  is 
paneled  in  wood 
painted  a  Geor- 
gian green  with 
moldings  and 
ornaments 
tipped  in  dull 
gold.  The  rug  is 
a  fine  Oriental 
and  the  fixtures 
are  crystal.  Both 
rooms  on  this 
page  are  from 
the  New  York 
residence  of  W. 
F.  F.  Palmer. 
Delano  &  Aid- 
rich,     architects 


106 


//  o  u  y  e    &    Garden*i 


The  ample  day  bed  at  one  end  of  the  boudoir  is 
covered  in  a  chintz  of  Chinese  design.  This  in 
combination  with  the  wide  striped  fabric  at  the 
windows  and  plain  velvet  cushions  makes  a  vari- 
ety of  material  used  which  is  quite  interesting 
and  still  harmonizes 


The  corner  of  this  sitting  room 
shows  a  black  and  gold  lacquer 
desk  with  its  delightful  appoint- 
ments. The  walls  are  yellow  pan- 
'  eled  with  green  and  the  over-cur- 
tains of  green  taffeta  with  val- 
ances of  green  and  yellow  damask 
carry  out  the  general  color  scheme 
of  the  room 


Slate  blue  walls  with  oyster  col- 
ored moldings  are  a  restful  back- 
ground for  the  architectural 
paintings  which  have  been  set  in 
the  panels  of  the  dining  room. 
The  curtains  are  of  blue  taffeta 
with  under -curtains  of  gold  gauze 
and  the  furniture  is  in  the  spirit 
of  Louis  XVI 


wmm&mmmmmmamm 


Book     of     Interiors 


107 


In  the  Southamp- 
ton home  of  C. 
H.  S  ab  in  the 
Georgian  library 
was  wisely  built 
around  an  orig- 
inal old  door- 
way. The  pan- 
elled walls  and 
beautiful  mold- 
ings form  a  de- 
lightful back- 
ground for  the 
admirable  taste 
of  Mrs.  Sabin, 
who  has  done 
many  charming 
things  with 
book-lined  re- 
cesses, chintzes, 
and  18th  Cen- 
tury   furniture 


An  antique  Chi- 
nese wall-paper, 
of  a  sort  that 
suggests  a  Hoku- 
sai  print  with 
mountains, 
gnarled  trees,  and 
beguiling  tea- 
houses, covers 
the  breakfast 
room  walls.  In 
a  recess  topped 
with  the  Geor- 
gian shell  are 
bits  of  rare  old 
china.  The  fur- 
nishings here,  as 
throughout  the 
house,  are  con- 
sistently English. 
Cross  &  Cross, 
architects 


IC8 


//  o  u-s  e     &     Garden's 


''     '"•  •    '  hich  are  in   the   residence   of  James 

11     ■    i  g    at     i   Louis,  tb   top  one  ha    a  background  of  cream 

1 Id  biut  and  th    chair  and  chai  e  tongue  in  the 

'""     '     ivory     Curiam    ol    flowered    linen 
bound  with  blue  taffeta  and  cream  net  against   thr  glass 


The  master's  bedroom  has  gray  painted  furniture  with  rose  and 
blue  flower  decorations.  The  walls  are.  cream  panels.  A  dark 
rose  run  repeal*,  the  color  of  the  day-bed  upholstery.  The  pillow 
is  gold  taffeta  of  blue,  rose  and  gold.  Curtains  are  gray  taffeta 
with  rose  and  blue  binding'.     War  field  Shop,  decorators 


Book     of     Interior 


IW 


A     LOUIS     SEIZE     BREAK  EAST     ROOM 


Louis  Seize  spirit  is  found  in  this  charming  breakfast  room,  with 
its  pale  green  walls  and  painted  panels.  The  curtains  are  butter 
colored  taffeta.     The  table  has  a  marqueterie  top.     Venetian  glass 


vases  are  placed  on  the  marble  top  console.  Wrought  iron  fix- 
tures reproduce  the  delicate  floral  sprays  and  ribbons  of  the 
period.     Mrs.  Edgar  de   Wolfe  was  the  decorator  of  the   room 


110 


House     &     Garden's 


I    fi 


Extending  from  ground  to  upper  floors  is 
a  pierced  bronze  screen,  thus  obviating  a 
hand  rail.  A  "Walking  Naiad"  replaces 
the  usual  newel  post  and  symbolize*  the 
Greek  feeling.  The  marble  of  the  stairs  is 
softened  by  a  carpet  until  one  reaches  the 
the  hall  floor,  which  is  of  tile 


The  inspiration  here  is  Greek,  but 
Greek  art  adapted  to  the  every- 
day life  of  a  refined  American 
home.  American  materials  and 
native  craftsmanship  were  used 
without  losing  any  of  the  atmos- 
phere and  dignity.  Kentucky 
stone  was  used  for  entablature 
and  columns.  The  mantel  itself 
is  of  Alabama  marble.  Two 
Chinese  pots  of  biscuit  color  and 
a  green  blue  vase  'land  on  the 
mantel,  giving  the  color  tone  for 
the  room 


I he  reclining  ""ah.  chairs,  ttool 
mmg  table  all   tkoit    their 
in  but  are  tin  at  w<  of 
modernity  m   comfort   and   con 

I  hit  room   ha.   turned 
of   hi  tory   and 
ill)  -.  Uhout 

of    -i>  in  fort, 

or  modern  utility.    It  i. 
mple  of    cholarl 

■     under  landing  of  Aiiuri 

can  life    It  >   the  home  „i  Wellet 

I  Orlh,    nrthiterl 


Book     of     Interiors 


111 


We  inherited  the  ingle- 
nook  from  the  English 
cottage,  and  it  is,  there- 
fore, suitable  in  such 
rooms  as  have  an  English 
cottage  feeling,  as  in  this 
room.  Open  beams,  a  cut 
stone  fireplace,  simple 
mantel  and  groupings  of 
comfortable  seats  and 
chairs  make  it  the  fea- 
ture of  the  room.  Pea- 
body,  Wilson  &  Brown, 
architects 


Italian  influence  is  shown 
in  this  simple  but  dis- 
tinguished hall.  The  black 
and  white  marble  floor, 
the,  deep  red  of  the  hang- 
ings, the  colors  in  the  her- 
aldic tapestry,  the  marble 
bench  and  standards  o  f 
wrought  iron  show  Ital- 
ian feeling  adapted  to  the 
requirements  of  a  modern 
American  house.  Charles 
A.  Piatt,  architect 


112 


House     &     Garden's 


E  MiOANCE    AND     T  1 1  K     INTIMATE     ROOM 


not  dependent  upon  size  for  its  adequate  expres- 
Thi  Loui  iii,,,  ,  Regena  and  Louis  Seize  styles  of 
decoration  belonged  to  an  era  thai  revolted  against  the  merely 
palatial  flu-  intimate  wa  math-  elegant,  An  example  »/  this 
ran  be  found  in  the  Vew  York  apartment  of  Paul  A.  Isler, 
The  apartment  i  not  palatial  m  >  <  but  it  has  been 
mail'  ant      I  in    French    tyle     have  been  em 


ployed  with  meritorious  restraint.  They  serve  as  a  valuable 
testimony  to  the  livable,  human  qualities  of  periods  little  mi 
derstood,  The  mantel  (if  this  room  is  a  beautiful  design  in 
marble,  with  a  mirror  and  Grisaille  above,  and  a  terra  cotta 
bust  and  pair  of  Chinese  vases  on  the  mantel  shelf.  The  walls 
are  cream  paneled.  The  room  is  an  epigram  in  Louis  Seize. 
Alavoine  &  Co.,   decorators 


Book     of     Interiors 


113 


In  such  parts  of  the  house  as  breakfast  porches  and  sun  rooms  one  should 

take  advantage  of  Nature's  offer  to  assist  in  the  decorations.     The  lattice 

ivalls  and  multitude  of  plants  are  responsible  for  much  of  the  charm  of 

this  breakfast  room.     Charles  A.  Piatt,  architect 


From  Independence  Hall  in  Philadelphia 
was  taken  the  wall  motif  for  this  card 
room  in  the  Long  Island  home  of  Mr. 
Ormond  G.  Smith.  Hoppin  &  Koen,  archi- 
tects.    Elsie  de   Wolfe,  decorator 


The  open,  restful  spaces  of  this  country 
house  living  room  are  greatly  responsible 
for  its  livableness.  Interesting  old  furniture 
and  gay  linen  curtains  have  been  used. 
Peabodv,  Wilson  &  Brown,  architects 


I' 


//  oust    &    Garden's 


The  four  views  on  these  pages  arc  from 
the  New  York  home  of  Mr.  Charles  E. 
Mitchell.  In  the  living  room  the  walls 
are  fawn  colored  plaster  and  the  ceiling 
wooden.  A  mellow  harmony  of  lone 
prevails  in  the  damask  coverings  of  the 
comfortable  chairs  and  the  soft  glow 
shed  by  the  delicately  shaded  alabaster 
lamp.  Curtains  are  green  damask.  The 
room  has  a  huge  stone  mantel  and  the 
walls  are  enriched  by  old  tapestries 
Walker  &  Gillette,  architects 


Coming  to  the  second  lauding  one  finds 
a    very  fine   old  Italian   bench   with  an 
early    Spanish    painting    above    it,    that 
rive  distinction  to  the  hallway.    .1/  the 
farther   side,  the  door  into  the  dining 
room  is  pronounced  by  a  black  marble 
frame  surmounted  by  an  an  hid  inula' 
lion    containing    a    profile    bust    in    In, 
relief     Black  marble  is  used  for  a  base 
board.      The    spiral    stairs    shown    op 
posite  start  in  a  recess  at  the  near  end 
of   this   landing 


J 


Book     of     Interior 


115 


An  18//;  Century  morning  room,  com- 
plete in  every  detail,  is  paneled  in  un- 
stained pine,  with  recessed  bookshelves. 
There  are  comfortable  chairs  about.  A 
glazed  chintz  is  used  on  some  of  the 
upholstered  furniture  and  is  repeated  in 
the  curtains.  The  principal  pictures  are. 
English  prints  framed .  in  black  glass 
mats.  By  the  window  stands  a  large 
writing  desk  with  two  old  lamps  and 
silver  writing  appointments.  The  chan- 
delier is  crystal  and  side  fixtures  silver 


The  first  stairs  land.ng  shows  a  pic- 
turesque spiral  carved  wooden  stairway 
leading  to  the  floors  above.  In  place  of 
a  newel  is  a  wrought  iron  swan  of  fan- 
tastic shape  attached  to  the  central  pil- 
lar. The  heavy  carved  brackets  under 
the  treads,  the  twisted  carving  of  the 
central  pillar  and  the  delicate  lines  of 
the  wrought  iron  rail  with  its  slim  spin- 
dles are  unusual  and  distinctive  features 
of  this  architectural  element.  Under 
the  treads  the  wood  lias  been  antiqued 


116 


House    &     Gar  den' s 


This  Italian  Louis  XVI  loggia,  done  in 
soft  gray  and  yellows,  has  particularly  in- 
teresting hangings.  The  valance  is  shaped 
to  conform  to  the  arched  openings.  Hang- 
ings are  taffeta  edged  with  a  decorative 
fringe  and  a  narrow  tracery  of  embroider v 
culminating  in  a  feather  design.  Walker 
&  Gillette,  architects 


In  the  living  room  shown  below  glass  cur- 
tains of  sheer  French  net  are  ruffled  and 
bound  in  blue  taffeta.  Hangings  are  violet 
taffeta  with  a  scalloped  edge,  blue  rosette 
tie-backs  and  looped  valances — a  happy 
color  arrangement  against  the  jade  green 
glazed  paneled  walls.  Mrs.  A.  Van  R. 
Barnewall,   decorator 


An  unusual  treatm  nl  for  a  French 
doorway  leading  from  a  library  to 
a   dining    mom    ihows   heavy,   ecru 
colored  ca  cment  tl<>ili  edged  .  Uh  n 
otton  fringi    and     • 
,ii   top  n,'</  bottom  b     im  i 
d      On  i It '  dining  i  oom    ni 
door  rn  r  ,  dm,  ,i ,  in n, ,,,  i repe 

>  i  il     iii  I,  if  il  in    III*'     am 
inanii'  raduated    tuck     run 

nmg  from  i"  iii  ;",  -  iih  tin  widest 

il    llv    In, Hum        I     I       I), iii,ii,    i    : 


Book     of     Interiors 


117 


.4  n  Italian  paper 
of  brilliant  color 
forms  the  back- 
ground in  this 
nursery  playroom, 
and  the  chief  piece 
of  furniture  is  a 
combination  seat 
and  toy  box  with 
shelves  at  the 
sides,  painted  a 
terra  cotta,  with 
the  naive  decora- 
tions in  deep  fawn 
color.  Decorations 
by  Mrs.  Coit  Mac- 
Lean 


PLANNING        THE        PLAYROOM 


A  PLACE  to  play,  a 
place  to  be  gay,  to 
shut  out  the  grown-up 
world,  when  the  Olym- 
pians become  too  tire- 
some; a  place  where 
ideas  may  nourish,  and 
a  place  to  be  remembered 
all  one's  life,  is  what  the 
ideal  playroom  should 
be.  At  the  moment  when 
the  intuitive  appreciation 
of  beauty  may  be  fos- 
tered to  the  greatest  ex- 
tent, when  the  impres- 
sionable child's  mind  is 
ready  for  all  suggestions 
of  the  world  of  lovely 
things,  careful  consid- 
eration should  be  given 
to  the  surroundings  in 
which  it  is  to  nourish. 

Simplicity  and  har- 
mony of  color  are  of  the 
utmost  importance,  as 
well  as  the  proportion- 
ing of  the  furniture  to 
the  small  occupant.  And 
apropos  of  this,  it  is  well 
to  plan  the  nursery  play- 
room in  such  a  fashion 
that  its  furnishings  may 


In  the  residence  of  Mrs.  Willard  Straight  this  little  girl's  nursery  has  its  furniture  painted  in 

white  with  blue  lines  and  medallions  of  blue  fairies  on  a  yellow  ground.    Blue  and  white  checked 

cretonne  at  the  windows  and  on  the  backs  of  the  furniture.    Miss  Quackenbush,  decorator 


be  added  to  from  year 
to  year. 

We  have  at  last  grown 
away  from  the  idea  that 
rows  of  solemn  Noah's 
Ark  animals  and  Dutch 
children,  may  be  suffi- 
cient to  establish  a  child- 
ish atmosphere.  There 
was  something  very  banal 
about  all  that.  Now,  we 
rather  incline  towards 
simple  painted  walls, 
where  a  few  well-chosen 
pictures  may  be  placed, 
varying  in  character  as 
the  child's  interests  vary; 
or,  towards  using  one  of 
the  lovely  scenic  papers. 

One  of  these  papers, 
Italian  in  origin,  with 
the  deep  blue  sky  of  that 
sunny  land,  was  used  re- 
cently in  a  most  delight- 
ful nursery.  No  longer 
confined  to  the  four 
walls  of  the  room,  there 
one  could  wander  in 
fancy  over  hills  and 
dales,  past  great  lakes  in 
which  brilliant  colored 
birds     disported     them- 


118 


House     &     C  ar  den'  s 


selves.      There    was    something    infinitely    in- 
spiring about  the  great  spaces  opened  out  to 

one,   just   the   sort   of   surroundings    in    which 
the  young  imagination  would  flourish. 

In  this  room  the  simplest  of  painted  furni- 
ture was  used,  constructed  to  stand  the  hard 
usage  any  healthy  youngster  would  give  it. 
A  toy  box  which  served  the  purpose  of  seat, 
just  as  well,  with  shelves  at  each  side  to  hold 
the  favorite  toys  and  books,  was  one  of  the 
most  interesting  pieces,  painted  a  terra  cotta 
with  fawn  colored  decorations.  The  little  rush 
seated  chairs  and  desk  were  painted  to  match, 
and  there  were  one  or  two  arm  chairs  with 
terra  cotta  and  cream  striped  slip  covers.  A 
mouse-colored  carpet  covered  the  floor,  which 
was  attractive,  although  a  cork  floor  would 
he  even  more  practical. 

The  very  fortunate  youngsters  are  the  ones 
who  live  in  the  country  and  may  grow  up  in 
a  garden,  and  for  the  city  child  it  would  be 
interesting  to  plan  a  garden  nursery,  with  the 
lower  part  of  the  walls  painted  to  look  like 
a  box  hedge,  beyond  which  one  may  see  the 
gently  sloping  hillside  with  birds  and  flowers, 
tall  hollyhocks  in  brilliant  rose  and  delicate 
yellow  standing  sentinel   near  the  hedge. 

There  should  be  real  flowers  in  the  window 
1  oxes,  which  could  be  tended  by  the  young 
gardener,  and  a  globe  of  gold  fish  with  bright 
green  marbles.  A  low  bench  or  two  painted 
grass  green,  with  a  few  garden  chairs 
in  natural  color  wicker,  with  bright 
chintz  cushions,  the  carpet  a  grass 
green,  and  a  little  gate  leading  from 
the  day  nursery  to  the  night,  would 
help  carry  out  the  illusion.  A  sand 
pile  in  a  green  wooden  box  at  one 
end  of  the  room  would  not  be  out  of 
place  in  "the  garden,"'  nor  would  a 
simple     old-fashioned     rope     swing. 

If  the  nurse  sleeps  in  the  same  room 
with  the  baby,  the  crib  should  be 
close  at  hand.  This  arrangement  oj 
four-poster  and  crib,  with  baby's 
wardrobe,  is  practical  and  modern. 
Brett,   Gray  &  Hart-well,   decorators 


Delicate  rose  paneled  'walls,  blue  and 
rose  chintz  and  blue  floor  covering 
make  this  a  cheerful  nursery.  Paint- 
ings of  playing  and  dancing  Amorini 
hang  on  the  walls.  The  toy  shelf  is 
set  accommodatingly  low.  Karl 
Freund,  decorator 


As 


S  much  as  possible,  the  playroom 


The  fireplact  -•  the  child'   e  ,    m  ilu    n><,w     Sn  arc  the  dancing  l>ui<h 

figure;  on  ih>  *■■      I  and  iron    '/»</  furniture  are  fascinating.    Unit,  ('•ray  & 

Hart-well,  dn orators 


stand   against  the  walls,   leaving  the 
center   of   the  room   free   for   action: 
whether  it  be  a  question  of  running 
trains,    conducting    a    military    cam- 
paign    or     playing     leap-frog.       Of 
course,  the  individual  temperament  of 
the    young    person    should    be    given 
serious  consideration.     A  rough-and- 
tumble  boy  might  not  like  to  live  in 
a  formal  garden,  but  he  would  love  a  harbor — 
a  harbor  with  boats  plying  to  and  fro  on  mys- 
terious errands.     One  of  the  old  scenic  papers 
would  create  such  a  pleasant  illusion,  and  there 
could  be  old  ship  models  over  the  doors  and 
plenty  of  tools,  wood  and  cord  in  the  toy  box, 
to  evolve  one's  very  own  models.   Painted  a  sea 
green,  a  circular  tin  shallow  tank  could  hold 
the  stormy  waves  for  the  little  crafts'  expedi- 
tions, and  around  it  a  sea-green  linoleum  cov- 
ering the  whole  floor  would  prevent  disasters 
Like  plants,   children   need   brightness   and 
sunshine   for  health   and   happiness.      Conse- 
quently,    where    possible,    arrange    for    their 
bedrooms  on  the  third  story  of  the  house  where 
dampness  cannot   creep  in   and   fresh  air  can 
sweep  through,  purifying  the  atmosphere.    Plan 
the  room  with  a  thought  for  the  child's  many 
inevitable    illnesses    that    lurk    in    unexpected 
places.      He  prepared   to   meet   any  emergence 
and  keep  the  little  one  in  familiar  and  sanitary 
surroundings.     Avoid  sharp  corners  that  catch 
and    hold   the  dirt;    in   their  stead   use  round 
corners. 

Thin  wash  curtains  that  permit  the  sunlight 
to  filter  through  are  beneficial  as  well  as 
dainty.  Cream  net  or  madras  is  prettier  than 
pure  blue-white,  for  it  washes  as  well  as  mus- 
lin and  has  the  advantage  of  softening  the 
glare  of  the  rays.  Over  these  light  draperies 
of  ecru  or  cream  ground  with  pink  flowers  and 
butterlles  in  gay  colors  are  (harming. 


, 


Boo  /.'     o  f     I  n  t  e  r  i  o  r  s 


119 


Give  £/ie  children  an  attic  room  to  themselves.     Fit  it  up  as  study, 

bedroom  or  nursery.     Use  plenty  of  wicker  and  hook  rugs.     Storage 

closets  can  be  placed  in  the  jog  at  the  end.     F.  Patterson  Smith  was 

the  architect,  and  Brett,  Gray  &  Hartwell  the  decorators 


The  attic  shown  above  and  below  is  a  boy's  room.     The  study  corner 

is  at  this  end,  the  sleeping  part  at  the  other.    Open  beams,  white  walls 

and  simple  sturdy  furnishings  make  a  boys'  paradise.    It  is  their  own 

furniture,  not  the  cast-off  pieces  from  downstairs 


In  one  alcove,  by 
a  window,  is  a  lit- 
tle sewing  corner 
where  mother  can 
come  for  a  mo- 
ment's peace  or 
to  superintend  the 
youngsters'  hours 
of  study 


In  another  alcove, 
the  boys  have  a 
fireplace  of  their 
own  where  they 
can  b  ring  their 
ang  of  small 
friends  without 
disturbing  the 
downstairs     rooms 


120 


//  a  u  v  c     <r     (Jarden's 


The  decoration  and  furnish- 
ing of  a  room  for  young 
girls  of  the  tub-frock,  school 
age  should  make  it  look  liki 
neither  a  boudoir  nor  a  nur- 
sery. In  this  room  the  fur- 
niture is  painted  in  dull 
turquoise,  the  ceiling  calso- 
inined,  the  walls  papered  in 
a  simple  lattice  design  of 
leaf  and  flowers.  The  floors 
painted  dark  blue.  Rugs  are 
blue  and  white  felt.  Anita 
de   Campi,   decorator 


A  playroom,  especially  de- 
signed to  hold  plenty  of 
toys,  is  found  in  the  resi- 
dence of  Mr  J.  H.  Poole, 
Detroit,  Mich.  Low  benches 
encircle  the  room  and  all  the 
furniture  is  diminutive.  At 
one  end  is  a  bay  window 
with  a  table,  where  the  chil- 
dren have  their  supper.  On 
the  benches  are  painted  im- 
proving mottoes.  Albert 
Kahn  was  the  architect. 
Decorations  by  W.  &  J. 
Sloane 


Book     of     Interiors 


121 


In  the  James  A.  Deer- 
ing  house  at  Miami, 
Florida,  have  been  cre- 
ated some  unusual  bath- 
rooms. A  Pompeiian 
design  in  marble  and 
mosaic  is  at  the  right. 
Paul  Chalfin,  decorator 


The  ultimate  luxury  is  the 
tub  cut  from  a  solid  block  of 
marble,  with  fittings  equally 
luxurious  to  match.  The 
glass-top  table  and  large  mir- 
ror are  useful  in  any  kind  of 
bathroom 


Tile  up  to  a  wainscot 
height  and  above  that 
a  French  figured  paper 
help  give  the  bathroom 
below  a  note  of  un- 
usual distinction.  The 
basin  is  marble.  Walker 
&  Gillette,  architects 


A  MODERN 
BATHROOM 
CAN  BE  A  THING 
OF     BEAUTY 


A> 


i 


Below  the  bathroom  mirror 
can  be  set  a  marbleized  con- 
sole just  big  enough  to  hold 
bottles  and  jars.  Thus  it  will 
serve  as  a  dressing  table.  Mrs. 
A.  Van  R.  Barnewall,  deco- 
rator 


122 


House     &     Garde 


n    s 


The  pot  rack,  a  frame  of  iron 
or  nickel  with  hooks  for  the 
pots  set  above  the  work  table, 
is  the  most  modern  device  for 
the  kitchen.  It  is  shown  here 
in  the  home  of  Earle  P.  Charl- 
ton, Esq..  West  port,  Mass. 
Courtesy  of  Janes  &  Kirtland 


A  pot  shelf  is  a  simple 
arrangement  —  the  sup- 
porting board  has  hooks 
on  which  to  hang  the 
pots,  the  shelf  takes 
the  covers.  Knives  are 
stuck  in  a  wooden 
groove  back  of  the  sink 


A  still  simpler  arrangement  is  to  hang 
the  pots  and  various  other  utensils  on 
nails  or  hooks  driven  into  the  wall,  all 
within  easy  reach  of  the  kitchen  sink 
and  'work  table 


HANG  POTS  AND 
PANS  WHERE  YOU 
CAN  REACH  THEM 


Hung  your  pots  and  pans  in  a  place 
thai  will  not  require  leaning  over  to 
K<i  them.  The  bottom  shelf  of  tin 
Clipboard  ii  taboo  today.  This  system 
of  reachable  shelves  is  excellent 


Book     of     Interiors 


m 


THE      SALIENT      POINTS      OF      THE      MODERN       KITCHEN 

Space,  Light,  Order,  Cleanliness  and  Labor-Saving  Equipment  Comprise  Its  Virtues 


Set  down  in  order, 
the  facts  of  the  kit- 
chen to  the  right, 
■which  is  in  the  New 
York  residence  of 
Mr.  C.  M.  McNiel, 
are  glazed  brick 
walls,  cove  corners, 
linoleum  tile  floor, 
hooded  French 
range,  hot  plate 
table,  pot  rack,  and 
work  table  all  in 
good  position,  and 
the  sinks  by  the 
window.  F.  Sterner, 
architect 


In  the  kitchen  be- 
low, in  the  New 
York  home  of  Fred- 
erick Lewisohn,  we 
find  tile  walls  with 
rounded  corners,  a 
tile  floor,  built-in 
cupboards,  pot  and 
lid  rack,  a  hooded 
French  range,  work 
table  and  chopping 
block.  The  equip- 
ment and  arrange- 
ment save  labor  and 
make  for  orderli- 
ness. H.  A.  Jacobs, 
architect 


124 


//  o  it  $  e    &    (j  a  r  den' s 


High  sinks,  glass 
st  andards ,  metal 
draining  boards, 
porcelain  lop  tables, 
a  vegetable  sink  and 
a  refrigerating  room 
are  kitchen  features 
in  the  New  York 
home  of  Judge  E. 
H.  Gary.  Courtesy 
of  Duparquet  Hv.ol 
&  Monetise 


This  pantry  sink 
in  the  F  r  i  c  k 
home  shows  the 
rounded  corners, 
metal  nicke  I  - 
plated  drain 
board,  the  raised 
back  and  the 
double  compart- 
ment sink  now 
being  used  in  the 
most  modern 
type  of  pantry 
equipping.  Cour- 
tesy of  Meyer  & 
Sniff  en 


In  the  Neu  York 

home  "i  \rioiph 
I  ■  iso  h  >i .  tin 
k  i  l  f  h  i  n  it 
equipped 

plumbing,  i  ood 

m   drain   board  . 

cmeralor,  marble 

table 
It  Uh    n   pot    rai  I* 
aboi  i     <  ourU 
o '    Br  am  hall 


Sinks  should  be 
grouped  accord- 
ing to  their  uses 
and  placed  in  a 
good  light.  Open 
plumbing,  com- 
pression faucets 
and  roll  rim  sinks 
of  English  porce- 
lain are  found  in 
the  Frick  group, 
which  is  shown 
in  the  photo- 
graph above. 
Courtesy  of 
Meyer  &  Sniffen 


Book     of     Interiors 


125 


The  sink  should  be  placed  in  good  light,  tables  con- 
veniently placed  and  floors  and  walls  tiled,  as  in 
the  kitchen  of  the  Frederick  Lewisohn  house. 
New    York    City.      Harry    Allen    Jacobs,    architect 


The  kitchen  shown  below,  in  the  residence  of  Mr. 
Louis  Sherry  at  Manhasset,  L.  I.,  has  white  tile 
walls  and  a  tiled  floor,  and  the  cupboards  painted 
white  enamel.    Pots  are  hung  at  a  reachable  height- 


//  o  u  i  e     &     0  ar  d  i  n  ' 


Mb 


Addresses  of 

ARCHITECTS      and      DECORATORS 


Alavoinc,  L.  &  Co 712  Fifth  Ave.  New  York  City 

Arden  Studios 599  Fifth  Ave.,  New  York  City 

Atkinson  &  Alexander 35  Bedford  Sq.,  London,  Eng. 

Audrain! 603   Fifth  Ave.,  New  York  City 

Barnewall.  Mrs.  A.  Van  R 3  E.  47th  St.,  New  York  City 

Bigelow  &  Wadsworth 128  Tremont  St.,  Boston,  Mass. 

Bossom.   Alfred   C 366  Fifth  Ave.,  New  York  City 

Bosworth,  Welles 

Bottomley,   W.   Lawrence 

Brett,  Gray  &  Hartwell 

Buel.  Mr-.  Emott 


.527   Fifth  Ave.,  New  York  City 

.597   Fifth  Ave.,  New  York  City 

.  .647  Boylston  St.,  Boston,  Mass. 

.20  E.  46th  St.,  New  York  City 


Campbell.  Earle,  c/o  Jas.  I.  Wingate  &  Son.  .  .  .563  Boylston  St., 

Boston,  Mass. 


.681  Fifth  Ave.,  New  York  City 
.34  E.  48th  St.,  New  York  City 


Chalfin,  Paul 597  Fifth  Ave.,  New  York  City 

Colby.  J.  A.  &  Sons 129  N.  Wabash  Ave.,  Chicago,  111. 

Cros-  k  Cross 

Darnley.  Inc 

De  Campi,  Anita 22  E.  Washington  St.,  Chicago,  111. 

Delano  &  Aldrich 126  E.  38th  St.,  New  York  City 

Del  Monte.  Diane WE.  46th  St.,  New  York  City 

De  Wolfe,  Mr-.  Edgar.  .  .  .1801  Van  Ness  Ave.,  San  Francisco,  Cal. 

1,    Wolfe,  Elsie 2  W.  47th  St.,  New  York  City 

Ids.Chamberlin 28  E.  52nd  St.,  New  York  City 

Imbury,  Aymar  II 132  Madison  Ave  New  York  City 

■  r 15  W.  38th  St..  New  York  City 

rn,Emil 126  E.  28th  St.,  New  York  City 

G  0.  Porter.,    o  Littli  m,  70  Kilby  St,  bo-ton,  Ma-. 

Fi  I      ;aret -Garland   Bldg.,  Chicago,  111. 

,      tellier 45  Bromfield  St.,  Boston,  Mass. 

I,  616  S.  Michigan  Blvd.,  Chicago,  111. 

K   rl 1"  E.  46th  St.,  New  York  City 

'i  "  W.    16th  St.,  New  York  Cit3 

V         R  46  W.   llth  St.,   Ne«    Y.„l.   Citj 

Bullard&Wool  A   I       9th    51     Ne*    VTork  City 

.        |        G  .145  E.35thSl  '.-l   Cit; 

H  -  .    L  <  W.  29,1,  S.     Ne«   Yori  Citj 

„  ■  .1   Mad  fori    I  il 


Hoffman.   F.  Burrall,  Jr 120  W.   52nd  St..  New  York  City 

Hoppin  &  Koen 4  E.   43rd  St.,  New  York  City 

Huber,  H.  F.  &  Co WE.  40th  St.,  New  York  City 

Hutaff .  John  H 101  Park  Ave.,  New  York  City 

Jacobs,  Harry  Allan 320  Fifth  Ave.,  New  York  City 

Kahn,  Albert 58  Lafayette  Blvd.,  Detroit,  Mich. 

Lewis,  M.  A 10  E.  46th  St.,  New  York  City 

Little,  Harry  T 70  Kilby  St.,  Boston,  Mass. 

Little  &  Browne 70  Kilby  St.,  Boston,  Mass. 

Little  &  Russell 70  Kilby  St.,  Boston,  Mass. 

Loeser.  Frederick  &  Co Fulton  &  Bond  Sts,  Brooklyn,  N.  Y. 

MacBride,  G.  Bovard 3  E.  52nd  St.,  New  York  City 

MacLean,  Mrs.  Coit 366  Lexington  Ave.,  New  York  City 

Mellor  &  Meigs 205  S.  Juniper  St.,  Philadelphia,  Pa. 

Morris,  Benjamin  Wistar 101  Park  Ave.,  New  York  City 

Quackenbush,  Miss 334  Fifth  Ave.,  New  York  City 

Peabody,  Wilson  &  Brown 389  Fifth  Ave.,  New  York  City 

Phillips,  W.  Stanwood 103  Park  Ave.,  New  York  City 

Piatt,  Charles  A 101  Park  Ave.,  New  York  City 

Pope,  John  Russell 327   Fifth  Ave.,  New  York  City 


Schmidt,  Mott. 
Schmidt,  Mott. 
Sice  &  Bryson. 
Sloane,  W.  &  J 


Porter,  Lee.  .c/o  Jas.  I.  Wingate  &  Son,  563  Boylston  St.,  Boston, 

JMLclSS. 

Redfern,  Harry,  .c/o  Central  Control  Board,  Latymer  House. 

154  Piccadilly  W.,  London,  Eng. 

,,    tt          T5  9  Park  St.,  Boston.  Mass. 

Russell,  Harry  B y 

14  E.  40th  St.,  ,New  York  City 

14  E.  46th  St.,  New  York  City 

154  Montague  St.,  Brooklyn,  N.  Y. 

575  Fifth  Ave.,  New  York  City 

Smith,  F.  Patterson 67  Milk  St.,  Boston,  Mass. 

Sterner,  Frederick 569  Fifth  Ave.,  New  York  City 

Townsend,  Chas.  Frederick 55  Church  St.,  New  Haven.  Conn. 

Twiss,  C.  Victor  Co 14  E.  50th  St.,  New  York  City 

Walker  &  Gillette 128  E.  37th  St.,  New  York  City 

W maker,  John Broadway  &  10th  St.,  New  York  City 

White)  Mrs.   A.  K Clermonl   Bldg.,  Walnut   Hills,  Cincinnati,  O. 

K I,  Mn,  Grace ™  E.  S  3rd  St.,  New  York  City 

Wright,  Mrs.  Agnes  Foster 42   E.  48th  St.,  New  York  City 


3G1  09/S9      7|ii| 
36021  Jin 


